


pj-L . H.HAND . 



Pattern Making 

AND 

Foundry Practice 



A PLAIN STATEMENT OF THE METHODS OF WOOD PATTERN 
MAKING, AS PRACTICED IN MODERN PATTERN SHOPS, WITH COM- 
PLETE INSTRUCTIONS FOR SWEEP WORK AND NOTES ON FOUNDRY 
PRACTICE, TOGETHER WITH NUMEROUS DRAWINGS TAKEN FROM 
ACTUAL PATTERNS WHICH HAVE BEEN SELECTED AT RANDOM 
BY THE AUTHOR FROM A MODERN PATTERN ROOM WITH A 
VIEW TO ILLUSTRATE THE PROCESSES OF THE CRAFT AND THE 
INSTRUCTIONS CONTAINED IN THIS WORK. 



NOTE — The majority of the problems in this book hwve been 
solved^ the ivork performed directly under the super-vision of the author. 



By 

L. H. HAND, M.E 



3(lllu0trateD 




FREDERICK J. DRAKE & CO. 

PUBLISHERS CHICAGO 

1905 



B8ARY of OONQR£SS 
Iwo Oopies riiscMvoci 

SEP. 5 J9U5 

^Oopvrmnx cuiry 
COPT 8. 



COPYRIGHT, 1905 

BY 

FREDERICK J. DRAKE & CO. 

CHICAGO 



6-^Wl 



PREFACE 

My purpose in writing this book will be ap- 
parent from its great usefulness, which, I am 
quite sure, will be conceded by intelligent and 
thoughtful readers. 

For many years I have been employed in rail- 
road and construction shops and have observed 
that the principles of pattern making were less 
understood than any other branch of wood 
work. I have frequently noticed, in railroad 
shops especially, that the workmen who could 
"make a pattern" commanded a better position 
and were in greater demand than those who 
could not. In large shops from one to a great 
many pattern makers are regularly employed, 
and work is systematically arranged; but in the 
smaller shops it is very important to have a 
workman in the cabinet or carpenter shop who 
is competent to make a correct pattern and who 
may be called upon at any time to perform this 
duty, thereby being instrumental in saving much 
money for his employers. 

For a term of years I was employed as gen- 

3 



4 PREFACE 

eral foreman of the wood working department 
of a factory near one of the large cities on Lake 
Michigan. This factory, from a very modest 
start, advanced rapidly in wealth and impor- 
tance, until its employes were numbered by the 
hundreds. In the beginning the pattern shop 
was only a branch of, or rather a bench in, the 
cabinet shop. For about three years the growth 
of the pattern shop kept pace with the growth 
of the plant, until eventually it became a depart- 
ment of itself and passed out from under my 
supervision. 

During my term as foreman of the pattern 
shop, I observed that workmen who were con- 
sidered pattern makers were entirely ignorant of 
some of the simplest problems in pattern mak- 
ing, while others were expert in every detail of 
the business. I also discovered that there was a 
great scarcity of literature upon the subject of 
pattern making, and such as was obtainable was 
not generally read by the members of the trade. 
Having become much interested in the various 
problems with which I was confronted from 
time to time, I consulted frequently with the 
intelligent and expert members of the craft, until 
I became thoroughly familiar with the business 



PREFACE 6 

in all its details and quite skillful in the actual 
workshop practice of the art. Being ambitious 
to become a master of the science, I took great 
pride in working out difficult problems at the 
lathe and the bench, and by assiduous and 
persistent application I soon acquired a sub- 
stantial reputation as a pattern maker. 

Not being engaged in active business last 
winter, I devoted my leisure time to the prepa- 
ration of this work, feeling assured that it would 
confer a lasting benefit upon those of my fellow 
workmen of the craft, who will study the expla- 
nations and illustrations which it contains with 
the same care and earnestness which I have 
devoted to their elaboration. The subjects 
treated relate mainly to patterns which came, 
from time to time, to my bench or which fell 
under my observation while I was general fore- 
man of the wood working department in the 
factory. 

A wide and varied experience in the employ 
of railroads and car shops generally, has con- 
vinced me that even the professional pattern 
maker is ignorant of many comparatively simple 
problems, while to many careful and close wood 
workmen the simplest rules are unknown. As 



6 PREFACE 

evidence corroborating this statement, I will cite 
an instance of the ignorance of a professional 
pattern maker whom I once knew. This work- 
man cut up about six dollars' worth of lumber 
and spent two days' time making a large core 
box. Later on this core box needed some alter- 
ations, and another pattern maker, who had 
been employed subsequently, was called upon to 
make the changes. He looked the box over and 
seemed much amused. Then he picked up 
some large scraps and four strips of wood of 
the desired length, and in about thirty minutes 
he made a skeleton box, at a cost of about thirty 
or forty cents, which answered all purposes, 
thereby demonstrating the fact that "knowledge 
is power," and that the serving of a given time 
in a pattern shop does not always develop pro- 
ficiency to its highest plane of usefulness. 

Should this work be the means of improving 
the condition or advancing the wages of any of 
my fellow laborers, I shall be pleased to hear 
from them, and their letters will be carefully 
filed away as the tokens of some fellowmen's 
burdens which have been made a little lighter 
through my efforts. 

The Author. 



PATTERN MAKING AND 
FOUNDRY PRACTICE 



PRELIMINARY REMARKS 

While the catalogues of publishing houses, 
dealing in scientific works, abound with hand- 
books published in the interest of the progressive 
wood worker who desires to learn all he can 
about the possibilities of wood construction, and 
while we may find books devoted to the use of 
the steel square, building construction, superin- 
tendence, different rules and methods for esti- 
mating and contracting, forms of specifications 
and contracts, rules for laying out arches in 
straight and circular walls, different systems of 
hand railing and stair building, rules and 
formulas for determining the strength of mate- 
rials and estimating the natural strains to which 
such materials are subject, hopper bevels, hip 
and valley roof framing, groined ceilings, rake 
mouldings, roof and bridge trusses and their 



8 PATTERN MAKING 

joints and strength, yet it seems that the par- 
ticular branch of the art of wood working, which 
pertains to the making of wood patterns for the 
moulder's use in making cast metal forms of the 
various kinds, shapes and dimensions required 
by the numerous and ever-increasing demands of 
modern construction, has not been given much 
attention, as very little literature on this subject 
exists, and that which does is not read to any 
extent by the craft, the bulk of information on 
all technical points being, as it were, carried by 
tradition from foreman to apprentice. In view 
of this fact, it occurred to me that an exhaustive 
and comprehensive work on this subject, giving 
the results of years of practical experience, eluci- 
dated by clear and concise instructions and illus- 
trated by drawings, cannot fail to supply an 
urgent want in the ever-growing complexity of 
this masterful era of mechanical progress. 

This work is destined not only to aid the well 
trained and skillful artisan by simplifying many 
diflScult and seemingly impossible tasks, but it 
will become an indispensable source of educa- 
tional advantage to the inexperienced mechanic 
and apprentice. 

There is absolutely nothing known as to the 



AND FOUNDRY PRACTICE 9 

origin of the process of casting metal forms from 
wood patterns. Among the reUcs of prehistoric 
man there are weapons, implements and vessels 
of bronze which, by inevitable inference, we 
must concede were cast in moulds made by 
embedding either a pattern of wood or other 
material in sand or earth. The very discovery 
of metal, in all probability, owes its origin to 
the accidental fusing of some kind of ore, and 
the form of the cavity in the earth in which it 
has cooled suggested to the mind of primitive 
man the wonderful process of moulding, which 
has been so great a factor in the marvelous 
development of the human race. Patient 
scientific research has revealed incontrovertible 
evidence that the art of moulding in earth is one 
of high antiquity, and this justifies the deduc- 
tion that pattern making also as a craft, though 
no doubt struggling through long periods of time 
in a state of primitive crudity, is of almost 
equally remote origin, as the conception and 
necessity of a pattern to construct the mould 
would most naturally follow the discovery of the 
fusion of ores into the various forms given to 
the cooled metal by the accidents of its position 
in earth or sand. 



10 PATTERN MAKING 

In the early history of pattern making the art 
was not separated from ordinary wood working. 
It was a branch of the millwright or wheelwright 
trade, and answered all the purposes and wants 
of that period; but the demands of modern 
manufacture are so multitudinous and exacting 
that the highest order of skill has become an 
imperative necessity in every department of the 
wood worker's trade. 

The wonderful improvement in machinery 
during the past century has created a demand 
for forms in casting, so numerous in their end- 
less variety, that the vocation of the modern 
pattern maker has become a specialized art requir- 
ing scientific knowledge highly developed, and 
coupled with the ability to apply this knowledge 
practically to the requirements of modern me- 
chanical discovery and invention. 

It is therefore of the utmost importance that 
every mechanic who selects for his vocation in 
life that of the pattern maker, should thoroughly 
master all the technical knowledge of the art, 
not only for his own temporal interests, but for 
that still higher motive which actuates all zealous 
workers in every department of human endeavor 
and who reap as their reward, in addition to 



A>D ForyBRY practice: ii 



tioiL, and tbtmq 
that the patterr 
and no* made, y-- 
wcMbf experier 
to the effioenc; 
indnsinr in tlie : 

Xambered &: j : ~i= a 

young man wt^. 
great cities an : 
brass foandry . 

Talves, checks, z . 
from the time h'r ^ 
f oveman of th-^ 
poatkm foi' years. A:- 
a farmer, made his - 
for a grain bir 
the straw. TL 
but the introc 
sc^ed the proh 

two la^ge Imic b had his inren- 

tion under ecu larmed and 

jcMned the gecK : binder, 

cansi^ a V-^^ _ : al! his 



12 PATTERN MAKING 

labor on the machine. These two instances, 
however, of rapid success and utter failure, rep- 
resent the extremes of good and bad fortune 
rather than the average medium of success which 
always attends assiduous application and per- 
sistent endeavor in the aggregate. 

The principal aim of the pattern maker should 
be to make himself so absolute a master of his 
work that the solution of all problems with which 
he may be confronted can be quickly obtained 
and with the least possible expense. The mod- 
ern pattern maker should be thoroughly familiar 
with all the rules for draft shrinkage, etc., and 
ready to apply them at a moment's notice. 

Under the old regime, the millwright hewed 
the timber, framed his building and made the 
patterns for boxing, gear wheels, etc. He then 
set up the machinery, officiating practically as 
millwright, machinist, pattern maker and car- 
penter; in fact, he was a veritable mechanical 
factotum; and yet, although the millwright is 
credited with the ability to figure out the speed 
of gears, pulleys, etc., and to set up machinery, 
he may be totally ignorant of the simplest rules 
for shrinkage, draft, etc. Hence the importance 
of specialized labor in the vast number of de- 



AND FOUNDRY PRACTICE 13 

partments which have been created by the neces- 
sities of the gigantic industrial world of modern 
times, as better results are obtained and time 
and money saved. Living as we do in this age 
of high pressure and quick results, it is incum- 
bent upon every worker to do his part with as 
little expenditure of time, energy and money as 
possible, or the procession will pass him by and 
he will be consigned to the rear in the ranks of 
that great army of those who are unfit to con- 
tinue the fierce struggle of existence under mod- 
ern industrial conditions. 

The old time buggy maker, who was black- 
smith and wheelwright, body maker, trimmer 
and painter, was wont to build a few vehicles 
like the famed "one hoss shay," but they were 
so expensive that only a very few people, excep- 
tionally fortunate could afford to own them. In 
these days half a dozen smiths make as many 
different parts of the gear, while the man who 
welds the tires could not in all probability forge 
the simplest part of the gear, and the curtain 
maker may never see the top of the buggy. 
The gear may be made in Grand Rapids, the 
shafts in Indianapolis, the body wherever the 
least money will buy the largest box, and the 



14 PATTERN MAKING 

parts assembled in Chicago. Then the finished 
product is put on the market at a price so 
low that the barefooted boy in the country can 
take his grist to mill in a buggy. In fact, bug- 
gies have become so cheap that, driving along 
almost any country road, one will often pass a 
buggy wreck piled up in a fence corner or in a 
side ditch. These wrecked vehicles are not 
entirely worn out, but the price of a new buggy 
is so low that it is cheaper to buy one than to 
incur the expense of repairs upon the old one. 

A thorouo^h division of labor, while it forces a 
mechanic to become, as it were, a cog in the 
wheel of some great machine, which grinds the 
same round from day to day and month to 
month, also cheapens the product of every me- 
chanic's labor, so that now people of small means 
are not denied the products of mill, loom and 
factory, which half a century ago were only 
obtainable by the very rich. With the ever- 
increasing demand for cheaper production, pat- 
tern making is destined to become more and 
more a trade to be desired. The destruction of 
the forests and the presence of the iron moun- 
tain in Missouri are two fixed facts, indicating 
where we will be forced in the near future to 



AND FOUNDRY PRACTICE 15 

seek our raw material which heretofore the great 
forests have suppHed. With the disappearance of 
the timber, iron is slowly and almost imper- 
ceptibly but surely taking its place. I have 
heard old men bewail the condition of the coun- 
try when the supply of rail timber becomes ex- 
hausted, and yet what farmer would split the 
rails now if he were given free of cost the tim- 
ber? The wooden fence post is rapidly making 
way for cast iron or a block of concrete with a 
rolled sheet iron standard. The wooden railroad 
bridge has almost disappeared, and even country 
road bridges are now nearly all built of iron. 
Wooden buildings now only exist because the 
forests have not entirely disappeared, and wood 
in its first cost is yet cheaper than other and 
better material for construction. The railroad 
cross tie is yet a perplexing problem; nevertheless, 
when the timber for its manufacture is entirely 
exhausted, necessity will give birth to some 
ingenious device or substitute in iron, glass, con- 
crete or paper, which will supersede the present 
wooden cross tie, and will in all probability prove 
so far superior to it that those of a generation or 
so to come will contemplate with amusement the 
primitive methods employed by their fathers in 



16 PATTERN MAKING 

the construction of roadbed, just as we of this 
generation look with jocose good nature upon the 
oW wooden plow of our ancestors. 

It should not be inferred that any arbitrary set 
of rules can be devised governing the making of 
every description of pattern which the workman 
may be called upon to produce. The nearest 
approach to an unerring guide, covering the 
widest range of the subject, is the classification 
of certain forms of patterns with drawings illus- 
trating each class, with concise and lucid expla- 
nations by which the well-informed and intelligent 
mechanic can work out problems in whatever 
class they may appear. This is what the author 
has done in this work, and in a manner to insure 
the certain accomplishment of his purpose, and 
yet the hope is nowhere excited throughout this 
v/ork, either by direct statement or implication, 
that any self -educational facilities afforded by the 
study of this work will supply the deficiency of 
natural mechanical talent which must primarily 
be possessed by any person who may hope to 
excel in any department of mechanical science. 

In a factory which employed over one hun- 
dred carpenters and cabinetmakers, I do not 
think there were more than three or four who 



AND FOUNDRY PRACTICE 17 

could or ever did turn anything on the wood 
lathe, and whenever many of the others at- 
tempted to do so a complete failure was the 
result, notwithstanding the most explicit verbal 
instructions as to the holding of the tools and the 
practical demonstration by the instructor taking 
the tools himself and performing the operation 
for the students. 

In the preparation of this work it has been my 
aim to simplify and present all problems in a 
light so clear that the principles at least will be 
thoroughly understood by any reader of ordinary 
intelligence; but the practical and successful 
application of the principles expounded will 
depend wholly upon the innate ability and care- 
ful execution of the operator. Even with native 
talent of the highest order, rough and careless 
work will not promote success nor obtain for the 
workman any creditable reputation. 

The work of a pattern maker is clean and 
pleasant, but requires a very high grade of skill 
to properly execute, even under the direction of 
a skillful foreman. The cutting tools should be 
the very best that the market affords, with edges 
smooth and keen at all times. To the foreman 
of the shop every new job is "another problem 



18 PATTERN MAKING 

to solve." There is no precedent for many 
jobs — no beaten path to follow. Often after a 
job is completed a better way has been discov- 
ered, by which the job could have been done to 
greater advantage. There have been instances 
of capable pattern makers widely differing in 
their views of how certain patterns should be 
made; each one maintaining vehemently that his 
method was the only right and proper one. 



FOUNDRY PRACTICE 

Before entering into the details of pattern 
making, let us first consider the customary way 
of making castings; for if we are ignorant of the 
manner in which the moulder obtains the proper 
cavity in the sand by the use of the wood pat- 
tern, it would be impossible to make the pattern 
to the best advantage. I say this advisedly, and 
I believe that a first-class moulder can take 
nearly any object for a pattern and get it out of 
the sand, leaving the mould perfect, and make a 
successful casting. It has been authentically 
related of a certain moulder that he could mould 
the pronged horns of an antlered buck from the 
natural pattern as it grew on the animal's head. 
I remember an instance of a farmer who brought 
to a small foundry the fire bowl of a heating 
stove, which was broken in seven pieces. A new 
bowl was moulded from the pieces, a feat of 
moulding which suggests a strong argument to 
the pattern maker and which should convince 
him that a knowledge of foundry practice is a 

19 



20 PATTERN MAKING 

most powerful auxiliary to his trade, enabling 
him always to make his patterns. 

Castings are usually made in a flask. This is 
composed of two or more rough boxes, so con- 
structed, by the use of dowels or other devices, 
as to retain their relative positions at all times 
when in use. This is absolutely necessary, as 
otherwise the casting would be one-sided or 
would show a jog at the joint or parting. 

When more than two boxes are used, this flask 
is called a compound flask. Usually only two 
boxes are used, and this arrangement is called a 
two-part flask. The upper box is called the 
cope, and the lower box the drag. The heaviest 
portions of a casting are usually left in the drag, 
which naturally retains its shape, thereby mini- 
mizing the risk of agitating the sand, whereas 
the cope has to be lifted and moved around, 
which has a great tendency to disturb the sand 
in it and break and destroy the mould. To 
overcome this danger, it is customary to put rods 
or wooden bars, or both, across the cope, 
through the sand, v/herever they can be placed 
without interfering wath the pattern. Then bars 
and rods hold the sand in shape so that they can 
be lifted to remove the pattern and replaced to 



AND FOUNDRY PRACTICE 21 

make the finished mould. Where it is possible 
to do so, it is best to make a parting in the 
wooden pattern at the point where the sand in 
the cope and drag divide on a straight Hne. 
This done, that part of the pattern which is to 
be left in the drag is placed on a flat board or 
bench, with the parting down. The drag is 
placed in an inverted position on the same board 
or bench and "rammed up"; that is to say, 
filled and tamped solidly with moulding sand. 
The drag is then placed right side up on the 
foundry floor and the upper part of the pattern 
is put on. A parting is then made with fine dry 
parting sand and the cope is secured in place 
and rammed up. Holes are then made down 
through the cope to the pattern, for the purpose 
of pouring the metal into the mould and also to 
allow the air to escape. The flask is then taken 
apart and the wooden pattern removed, leaving 
the two halves of the mould, which are then 
placed in their proper positions, making a com- 
plete and finished mould. In ordinary work a 
board, which is the size of the flask and is called 
a "follow board," is used for parting. For some 
special work, a special follow board is used, as 
in cases when the parting would describe a 



22 PATTERN MAKING 

curve. In other cases a follow board is made 
for a single piece pattern, like the hand wheel 
for a car break, by bedding the pattern one-half 
its depth in plaster of Paris, thus bringing the 
parting to the center of the pattern without any 
parting in the wooden pattern and without the 
use of the trowel. All these things are done for 
convenience to the moulder, so that he can make 
time in getting out his work. 

The first thing to be considered in looking at 
a pattern is how it will best draw out of the 
sand. Every complicated form of casting pre- 
sents a partially new problem to the pattern 
maker. If a piece will readily draw out of the 
sand except one or more small projections, they 
can sometimes be left on a dovetail slide, which 
will allow the pattern to be drawn, leaving a 
part in the sand to be removed later on; or if it 
be a cavity, it must be cored out. 

In preparing this work I have begun with the 
simplest forms and kinds of patterns, progressing 
gradually through the more difficult features of 
the work, and for illustrations I have used prin- 
cipally patterns which may be found in duplicate 
in the pattern loft of the Hicks Locomotive and 
Car Works, near Chicago. These patterns have 



AND FOUNDRY PRACTICE 23 

been made by different pattern makers and have 
been selected with a view to properly illustrate 
ideas and demonstrate such peculiarities of con- 
structions as are treated in this work. 

The very simplest form of pattern is repre- 
sented by the cast iron washer, Fig. 1. This 
pattern, being straight on one side, lies entirely 
below the parting and is consequently entirely in 
the drag. When a great many pieces of any 
article of this class are required, it is customary 
to make what 
is called 
"gated pat 
tern," which , ^ = 

rosi section throvjih a ca^t Washer* 




consists of a 
number of patterns made exactly alike and 
fastened together with small strips let into the 
straight side, level with its face. Then small 
strips lying on the follow board leave little 
grooves in the sand which allow the molten metal 
to pass freely into all the moulds, which are 
easily broken apart when the metal cools. This 
manner of moulding this kind of pattern is 
similar to that previously described, except that 
the cope is simply placed on the drag and filled 
with sand, as there is no part of the pattern 



24 



PATTERN MAKING 



projecting up into it. A better understanding of 
this may be derived by a study of A-1, Fig 2, 
wliich shows a cross-section through the drag, 
the pattern, the follow board and the sand 
rammed up. Fig. 2 shows the cross-section of 
the entire box and its contents ready to be in- 
verted and placed on the foundry floor, when the 
follow board is removed and the cope secured in 




'•'<'•• "'Tl-' 










£11 £ 

Cto^H section i hrotigh pattern rn Ihe^ ^and 



place and filled up as previously described. See 
Fig. 3, which shows a cross-section through the 
mould finished and ready to receive the moulten 
metal. ^ 

The next form to be considered is of a class 
which, while being all in one piece, is of such a 

^ It is deemed more expedient to m.ake most of the 
illustrations in this work in cross section, as a clearer 
understanding of the subject is generally derived from 
that character of design. 



AND FOUNDRY PRACTICE 



25 



shape as to render the moulding of the casting 
more convenient when it is entirely up in the 
cope. If executed otherwise, the sand in the 



ssfiiiay 




Cro53 secti on through finisheci inould 

cope would make it heavy and clumsy and very 
difficult to handle and the cope would have a 
tendency to drop off and ruin the mould/ In 



^ It should be borne in mind that the manner of mak- 
ing the mould depends entirely upon the nature of the 
work and the purpose for which it is to be used. 

Thus it will be found that all, or nearly all, stove cast- 
ings are made in a manner exactly the reverse from that 
which is employed in the moulding of ordinary castings. 
The hollow or concave parts are usually made down in 
the drag, and the sand in the cope is strengthened by 
cross bars of wood fitted in such a manner as to come as 
near the metal as is practicable, and these bars are driven 
full of nails or made with other projections in order to 
prevent the sand falling out. By this means a smooth 
casting on the outer surface is obtained, as the metal, 
being heavier than the dross or other foreign substances, 



26 



PATTERN MAKING 



this case the pattern, which is assumed to be 
hollow or of cup shape (see Fig. 4), should be 

placed on 
the follow 
board with 
the cup 
or hollow 
downward. 
Over this 
should be 
placed that 

part of the flask which is to be used for the 
cope, and it should then be rammed up in the 




Tig ^ 
<^ro55 5€ction through cup 



settles to the bottom of the mould and shows a perfectly 
smooth surface, while the imperfections float to the top 
or inside of the sheet. In small shops where repair work 
is done, the ingenuity of the flask maker is often taxed 
to devise means for making flasks perform work for which 
they were not intended, for the reason that in cases where 
only one piece of casting is required, the cost of making 
a special flask would be more than the value of the cast- 
ing. In factories such as stove works, etc., where a great 
number of similar pieces are required, many flasks are 
made for particular pieces, such for instance as oven 
doors, fire-backs, etc. In these cases the flasks are spe- 
cially designed with a view to performing the work with 
the least possible amount of labor by the moulder. There 
are a great many devices for holding the flasks in posi- 
tion, and some very ingenious patented hinges, clamps, 
etc. ; but most moulders use a square-jawed dog or clamp, 
which is a fraction longer than the height of the flask 



AND FOUNDRY TRACTICE 



27 



usual manner, after which the proper vents to 
receive the moulten metal should be made/ 




The cope should then be turned over, the follow 
board removed and the drag placed in position 
and rammed up. Then the flask (cope and 

(cope and drag). This clamp is slipped on the flask and 
then crowded into a slightly diagonal position with a 
short bar or chisel, used as a pry, and which holds the 
boxes firmly together. For small work the flask is 
hinged together on one side with an iron hinge so designed 
as to be readily slipped apart. 

^ The vents or holes down through the cope for pour- 
ing the metal, are called gates, and are made by placing 
tapered pins or wedges of proper size in the cope and 
touching the wood pattern. These, being withdrawn, 
leave the desired gates or ways for the molten metal to 
pass into the mould in the sand. 



28 PATTERN MAKING 

drag) should again be turned over, taken apart 
and the wood pattern removed, leaving the fin- 
ished mould as shown in cross-section, Fig. 5. 
In many instances it is customary to part the 
sand entirely by the use of the moulder's trowel, 
especially where the pattern is of some simple 
form, or where only a few pieces are required, 
as, for example, the small connecting rod shown 
in Fig. 6. In this case a flask is filled with sand 
and smoothed off, after which the pattern or 




patterns are pushed down into the sand about 
half of their depth, or to such a point as will 
most readily permit their withdrawal from either 
way. The moulder then smoothes the sand 
down and packs it thoroughly around the pat- 
tern with his trowel. Then a parting is made 
vv^ich dry sand and the cope is placed in position 
and rammed up as previously described. See 
Fig. 7, which shows a cross-section through the 
same pattern in the sand. Many other forms of 



AND FOUNDRY PRACTICE 29 

castings are parted in this manner where the 
parting, instead of being on a plane with the 
parting in the flask, is curved or has sudden 
crooks and offsets. In such cases the sand is 
packed in the drag to conform as nearly as pos- 
sible to the crooks in the parting. The pattern 
is then placed in position and bedded firmly in 
the sand. The moulder then packs and trowels 
down the sand around the pattern until a perfect 

V/eTf' cartel core 



-|j |f w:r:r7:^^^^r3^g- ^l^:- 'A 






'.'-v.-f-^^*; 



SnUona l view of mould foT Fig 6 Wio\¥mff pattem m 9and 

parting is made, sometimes cutting deep cavities 
around portions which otherwise would tear 
out the sand in drawing the pattern. In this 
manner an expert moulder will get out forms 
which at first glance look to be impossible. But 
primarily it is the duty of the pattern maker so to 
construct his patterns as to reduce to a minimum 
of intricacy all of these difficult problems with 
which the moulder may be confronted. As an 
instance of the value of a correctly-made pattern 



30 



PATTERN MAKING 



as an initial desideratum, see Fig. 7a, which 
illustrates a small fire extinguisher top and 
which, at a cursory glance, appears very diffi- 
cult, but which in reality is readily drawn out of 
the sand. This is a cup-shaped brass casting 
with round, projecting handles serving to screw 
and unscrew it. A cross-section of this is shown 
in the sand in Fig. la. The heavy lines show 




113. 7 ** 
^Toss SfCtton i Tirong h fire e tlitigmsJter tcp & ntoii'lci 

the parting in the flask and the dotted lines show 
the parting in the sand. 

It is of the greatest importance that a pattern 
should have draft; that is to say, it must be of 
such a shape that it will begin to loosen from 
the sand the moment a move is made to draw it 
out. To facilitate a ready loosening and suc- 
cessful withdrawal from the sand, all pattern 
work should be slightly out of square or slightly 



AND FOUNDRY PRACTICE 31 

beveled; i.e., it should be a trifle smaller at the 
portions which are embedded the deepest in the 
sand. Then again, the moulder often raps some 
patterns very heavily to get them out. That is 
to say, a pointed iron, which is driven into the 
wood pattern for the purpose, is smartly struck 
in all directions, causing the mould to become 
larger than the pattern. Some patterns are 
so shaped that they cannot be drawn out 
of the sand, as they may be hollow and of 
irregular form, or contain cavities or projecting 
parts which would tear out or loosen the sand. 
In all such cases it becomes necessary to use 
cores, to prepare which boxes or moulds are 
made of the proper shape. Into these boxes or 
moulds a preparation of sand with flour and 
molasses is packed, and the forms or cores so 
made are balced in an oven. After being 
thoroughly baked, these cores become firm 
enough to stand handling and will support their 
own weight across a considerable space. For 
certain purposes cores are sometimes made 
by substituting linseed oil, rosin, etc., for 
flour and molasses, and these are considered 
superior, as they make a smoother and stronger 
casting. 



32 PATTERN MAKING 

In some instances the required cavity in the 
casting will be of such a form, or may be com- 
plicated in such a manner, as to render it very 
difficult to mould the desired core in a single 
box, and therefore in many instances two or 
more cores are made and glued together. The 
cores for some of the parts of improved pneu- 
matic tools in use in modern boiler shops have 
been made up of from twenty to thirty pieces 
where the desired cavity was so complicated as 
to be impossible of construction in a single core 
box. It is also frequently desirable to use cores 
on work which could be drawn in the ordinary 
manner, and this is when the casting is hollow 
and thin enough to spring easily. In all cases 
where cores are used, the pattern, instead of 
being the shape of the desired casting alone, 
should have certain projections, termed "core 
prints," added to it. These core prints leave 
their impression in the sand, thus forming a 
cavity to hold the projecting ends of the core. 
In such cases it is necessary that the pattern 
maker should construct his core boxes in such a 
manner as to produce a core of the exact shape 
required by the cavity in the casting, together 
with such projecting parts as will exactly fill the 



AND FOUNDRY PRACTICE 



33 



cavities in the sand left by the core prints on the 
pattern. To illustrate this idea, a stake pocket, 
such as may be seen on the sides of a gondola 
flat or coal car, has been selected, the pocket 
itself being of the form shown in Fig. 8. This 
will readily draw out of the sand and it is fre- 
quently cast in this manner; but on account of 




F/> e 



its thinness it is more apt to spring out of shape 
than if it were cast with a core, as shown in 
Fig. 9. 

Patterns are painted in such a way as to show 
which portions are iron, and the core prints are 
left white or painted of a light color. Usually 
colored shellac is used for the black portions and 
uncolored for the core prints. By this means 



34 



PATTERN MAKING 



the moulder can tell at a glance the moment he 
takes up the pattern just how to make the cast- 
ing. Recently, through the carelessness or ig- 
norance of a pattern maker, over two hundred 
pounds of cast fittings in the Frisco R. R. shops 
at Cape Girardeau, Mo., were cast solid instead of 
hollow, because of the entire piece having been 
painted black, when the core print should have 




jF\y 9 



been left light. In moulding patterns of the class 
shown in Figs. 9 and 10, the process is much the 
same as has already been described. The lugs 
"a" "a", Fig. 10, are made removable, and 
when removed the pattern. Fig. 9, is laid flat on 
the follow board. The drag is then placed in 
position and rammed up; then it is turned over 
and the lugs "a" and "a" inserted, the cope se- 
cured in its proper position, the parting made 



AND FOUNDRY PRACTICE 



35 



and the cope rammed up, as heretofore described. 
The flask is then separated and the wood pat- 
tern. Fig. 9, is removed and in its place the core 
is laid J making the complete mould, as shown 
in Fig. 10. 

Small patterns are often gated together, as 
previously mentioned, or a flask is leveled off and 
a quantity of tliem stuck around here and there, 










/// 



£{gcftoytCT? vt'gw o£ mould for /yy's a flf ^ ^howin^ paiicrn itt_ sang 



while in other cases the pattern will be almost 
too large to be put in a flask at all. In such 
cases it is customary to dig a pit in the floor of 
the foundry to answer for the drag, and in the 
case of large castings, such as flywheels, engine 
beds, etc., the pattern itself is so heavy that it 
can be handled only by the use of a power hoist 
or crane. 



PATTERN SHOP PRACTICE 

It is customary in pattern shops to furnish the 
pattern maker with a mechanical drawing or blue 
print of the part to be made. This is very im- 
portant, in fact almost an indispensable part of 
the work, and yet often this drawing falls far 
short as a reliable guide to the pattern maker; 
for wliile it may indicate clearly enough the style 
of casting desired, it may contain no directions 
or suggestions which will govern or assist the 
pattern maker in the construction of the pattern. 
Although the office drawing may be a perfect 
representation of the casting itself, the pattern 
maker's drawing should show not only the 
casting, but also the cores, core prints, etc., 
etc., and where practicable the pattern maker's 
drawing should be full size, in order that the 
dimensions may be taken directly from the draw- 
ing with the dividers. Some shops may only 
employ a rough sketch with figured dimensions, 
and this is especially true of large repair shops, 
the foremen of which will send a man fifty or a 

37 



38 PATTERN MAKING 

hundred miles down the road to repair engines 
or cars which have become temporarily disabled. 
This man will frequently find a cracked or worn 
out casting or a burned out set of grate bars, in 
which event the number and date of the engine 
will be noted and every effort will be made to 
secure a correct description of the broken part in 
order that the blue prints of the engine may be 
consulted and the part located exactly. It often 
occurs, however, that the blue prints of a 
damaged engine have been mislaid ; consequently 
the pattern maker is instructed to make, say, a 
gate bar for the engine and have it ready for the 
engine immediately upon its arrival at the shop. 
Having failed to find the blue prints of the 
engine, the foreman, as a last resource, carries 
to the pattern shop a memorandum sketch taken 
from the notebook of the mechanic who had been 
sent to repair the engine, and from this crude 
drawing (see Fig. 00) the pattern maker is re- 
quired, at very short notice, to make a pattern 
which will give satisfactory results. Any old 
employe of a railroad shop will recognize this 
character of drawing (Fig. 00). It is apparent, 
therefore, that the pattern maker should under- 
stand mechanical drawing, at least to an extent 



AND FOUNDRY PRACTICE 39 

sufficient to enable him to make full size working 
drawings of any piece of pattern work which he 
contemplates producing. 

Drawing is the art of representing objects on a 
plain surface by the use of lines and shadows. 
Mechanical drawings are further illustrated and 
explained by the use of dotted lines, figures, let- 
ters, etc. For certain purposes mechanical draw- 
ings are sometimes made in perspective; but for 
pattern shop uses perspective effect is never 
employed. Two or more views of any object 



Fig. 00 

treated should be given in a mechanical drawing. 
The art of drawing in a very high state of prac- 
tical usefulness is now taught by several cor- 
respondence schools, and it ma.y be readily 
acquired by any ambitious person. 

Ordinary drawings for most patterns may be 
made with a lead pencil, a pair of dividers with 



40 



PATTERN MAKING 



a pencil point, a pair of beam compasses or 
trammel points and a steel square. Many old 
pattern makers use no other tools and make 
their drawings on the surface of a smooth plank, 
which only needs planing off to be ready for the 
next job. A much better way, however, for an 
important job is to make the drawing on heavy 
manila paper, which can be filed away for future 
reference. Where paper drawino-s are to be used 




ris tt 



it will be found very convenient to have a few 
regular drawing instruments. The drawing 
board should be of any convenient size and 
made of well-seasoned, clear, soft pine, perfectly 
straight and square, with hardwood cleats 
driven snugly into dovetail gains or grooves 
across the back of the board, as shown in Fig. 
11. The T-square is used for drawing parallel 
lines, either way, across the board, and is made 



AND FOUNDRY PRACTICE 41 

of any hard, straight-grained wood. Pear wood 
is excellent for this purpose; mahogany, cherry 
and maple also being used. A most excellent 
T-square is made for the trade with a trans- 
parent celluloid edge. A proper T-square for 
pattern shop use should have a blade at least 



y^r T^ 



three feet long, S'X^y'X^^", and slightly 
beveled toward the edges, with a head 2i''Xi" 
fastened securely at right angles to the blade. 
The most approved form of joint for a T-square 
is shown at a 6, Fig. 13, A tapered dovetailed 
wedge is glued to the blade of the square with 

>-- Dove, tail we^j9«- 



- I 1 ^ . E 

ri3 IS 

the grain of the parts running at right angles to 
each other. A corresponding notch or mortise is 
made across the head of the square, which allows 
the blade to be taken out of the head and trued 
up. The joint can be better secured by the use 
of a few round-head screws, if desired. The 



42 



PATTERN MAKING 



set squares or angles are used to draw parallel 
lines, at right angles to the blade of the 
T-square; or to draw such angles as appear in 
the corner of the set squares (see Fig. 14). The 
first of these set squares contains an angle of 45° 
in two corners and an angle of 90° or a right 
angle in the other. This is used to lay out octa- 
gons, or to bisect the right angle, producing a 




Fi^ i<i 



miter joint. The second one contains angles of 
30°, 60° and 90°. This square is employed to 
lay off the hexagon, or bisect the angles of the 
hexagon in order to obtain the hexagon miter. 
The third one contains angles of 22^°, 67 J° and 
90°, and is used to bisect the angles of the 
octagon, obtaining the octagon miter (see a 6 c. 
Fig. 14). Some few extra large wooden set 



AND FOUiNDRY PRACTICE 43 

squares are yet in use for certain purposes; but 
for general use the modern celluloid or amberoid 
instruments are so far superior, on account of 
their transparency, that the wooden ones have 
fallen into disuse. 

A set of mathematical instruments may be 
bought for from $2.00 to $25.00 or more, accord- 
ing to the fancy of the purchaser. The very 




Tin /sr 

cheap ones are not desirable, and in buying 
instruments or tools it is always advisable to 
provide the very best that one's means will per- 
mit. An indifferent mechanic can never do good 
work with inferior tools and a good one will not 
use them when he can possibly avoid it. The 
set shown in Fig. 15 has fairly good points and 



44 PATTERN MAKING 

will answer very well for persons of limited 
means. A set of this kind retails for about 
$6.00 and will answer every purpose for the class 
of drawings required in the pattern shop. 

In making up the working drawings for shop 
use it is preferable to trace the outlines faintly 
with a sharp, hard lead pencil. After this has 
been done the drawing can be brought out with 
ink or a soft, black lead peacil. When the draw- 
ing has been plainly brought out, some drafts- 
men give the cores or core prints a yellow tint 
and darken the parts which are to be metal. 
This not only improves the appearance of the 
drawing, but has additional advantages, espe- 
cially if some workman other than the draftsman 
is to work from the drawing, in which event the 
coloring of the drawing obviates the risk of any 
misconception of what the finished pattern is to 
be, thereby preventing what might otherwise 
result in awkward mistakes. Mechanical draw- 
ing, being a scientific subject in itself and one 
which for an elaborate elucidation would involve 
a voluminous treatise, can only be cursorily re- 
ferred to in a book of this nature, and it must 
therefore be assumed that the reader is suffi- 
cieutly familiar with the principles and practice 



A^D FOUNDRY PRACTICE 45 

of mechanical drawing to readily understand the 
instructions pertaining to the subject-matter of 
this work. 

The pattern shop should always contain suffi- 
cient space to provide for the free and comfort- 
able execution of its greatest volume of production 
and should be arranged with a view to afford 
ample room for the advantageous distribution and 
location of machinery, benches, trestles, clamps, 
tools, etc. The light should be as nearly perfect 
as it is possible to obtain and preferably derived 
through skylights which direct the rays vertically 
upon the work, thereby escaping the shadows 
thrown upon it by light which strikes it horizontally 
from the side. The room should be so arranged 
that a proper temperature can be maintained in 
winter to insure the successful gluing of work, as 
cold destroys the adhesive quality of glue and is 
deti-imental to good work in many ways. The 
work bench is usually made of three-inch plank, 
in order to keep the top true. The vise should 
be of modern construction, capable of being 
used either as a high or low vise, and should be 
equipped with an adjustable jaw for tapered 
work, and so arranged as to hold the work 
firmly without bruising it. The shop should be 



46 PATTERN MAKING 

equipped with a band saw or at least a jig^ saw, 
a pattern lathe and suitable clamps for gluing 
up material. In large shops a rip saw and wood 
worker will be found very useful. The highest 
grade of glued work, such as piano and organ 
cases, sleeping car bunks and fine furniture 
generally, is made by using hot glue applied to 
wood which has been heated to receive it; the 
work being done in a room heated for the pur- 
pose. Work glued up in this manner is very 
strong and better for many purposes than solid 
timber; but unless special arrangements have 
been made for this work, ordinary glue is liable 
to become chilled and lose its strength. There 
are several preparations of liquid glue v»4iich are 
valuable substitutes in many classes of work 
where conditions are not favorable to the use of 
hot glue. These liquid glues, being very slow to 
set, allow plenty of time to work over a piece 
where the assembling .of the parts is tedious, 
and the result is far better than that which is 
obtained by clamping hot glue between two cold 
surfaces, the effect of which is to convert the glue 
into a jelly, with little or no adhesive qualities. 
The workman, however, will have to decide for 
himself which kind of glue is best suited to the 



AND FOUNDRY PRACTICE 47 

specific conditions of the shop in which he is 
employed. In shops where the general conditions 
for gluing are bad, liquid glue promises the best 
results, when nails, screws or wood dowel pins 
are used to add such strength to the parts as the 
nature of the work may demand. 



TOOLS 

It is highly impracticable to attempt the 
enumeration of any exhaustive list of tools for 
pattern making, as the field covers such a wide 
range of work that unless it were limited to some 
certain branch of the trade, it would tax the 
ingenuity of the most resourceful inventor to con- 
ceive of such a tool that the wood worker might 
not at some time meet with a situation requiring 
its use. To the workman engaged entirely in 
the making of stove castings, his carving tools 
are the most important of his kit; while if his 
work were confined to the making of patterns for 
heavy machinery, the need of carving tools 
might never be felt. The making of wood pat- 
terns, while the principles involved are much the 
same in all cases, covers the widest range of 
work of any branch of the wood worker's art 
and embraces castings from the size of door keys 
and windov/ latches to the ponderous parts of 
the giant engines which supply the water to 
great cities, turn the v/heels of mammoth fac- 
tories and propel the iron-ribbed reindeers of the 

49 



50 PATTERN MAKING 

sea, hurling them plunging through the green 
surges of the sea. Most pattern makers carry a 
very complete assortment of cabinet maker's 
tools, including their lathe tools or turning 
chisels, gouges, etc., and also a set of long 
straight gouges, called pattern maker's gouges, 
with a set of carving tools for some classes of 
work. The special tools for pattern making, 
independent of those in general use, are shown 
from Fig. 16 to Fig. 22. 

Fig. 16 represents the pattern maker's gouge, 
which is made in all sizes from J to 2 inches. 
This tool is used for making core boxes and for 
paring out all kinds of convex surfaces. It is 
indispensable to the pattern maker. Fig. 17 
represents the turning gouge, about three sizes 
of which are usually considered sufficient for all 
practical purposes. This tool is used for rough- 
ing out work in the lathe, and for turning and 
finishing the concave portions of the work. 

Fig. 18 represents a paring tool, of which not 
more than two sizes are usually needed. This 
tool is used to finish the work in the lathe after 
it has been roughly formed by the gouge. The 
flat chisel. Fig. 19, is used for turning beads, 
ovals, etc., and for sizing particular work as 



AND FOUNDRY PRACTICE 



51 



indicated by the calipers. In such cases it is 
used much in the same manner as a scraper. 



^ 



Ttg 1 6 
Th9 pattern 'mahn 



,^ugo 



Tia It 



f'","f* 



■^ 






Tig /£ 
The: flal rhhel 



"The pari t It q toot 




' itili itoseci cAist? 



The parting tool, Fig. 20, is used for cutting 
deep grooves and for cutting off work in the 
lathe. The diamond point. Fig. 21, and the 



52 



PATTERN MAKING 



bull-nosed chisel. Fig. 22, are used for turning 
both the outside and inside surfaces of hollow 
patterns, such as the piece shown in cross-section 
in Fig. 23. 

Figs. 15, 16 and 17 can be procured at hard- 




Ti^ 23 



ware stores generally. The rest can be had from 
large supply houses, or from dealers in tool 
specialties, or they can be made by a first-class 
smith. In addition to the tools heretofore men- 
tioned, the pattern maker will sometimes find it 



AND FOUNDRY PRACTICE 53 

convenient to have special tools of a peculiar 
design for some special work. 

The shrinkage rule is a measure designed 
especially for pattern making, and is intended to 
make the proper allowance for the contraction 
of metal in cooling. However, it is not possible 
to accurately figure the contraction or shrinkage 
of metal, as a thick casting will shrink more 
than a thin one. Some shapes shrink more than 
others or more in some parts of the same piece 
than in other parts. A large cylinder, if cast on 
end, will shrink more at the bottom than at the 
top. Castings are calculated to shrink from one- 
tenth to one-eighth of an inch to the foot; but, 
as nearly all machine castings are either turned 
or planed to an accurate size, the determina- 
tion of the exact amount of shrinkage is in 
a great measure immaterial. Then again, 
in cases where the moulder raps the pat- 
tern heavily, in order to withdraw it from 
the sand, the casting will show but little if 
any shrinkage. 

The lathe is perhaps the most important of all 
the pattern maker's tools. A lathe suitable for 
ordinary pattern work should have a swing of at 
least twelve inches over the bed and it should be 



54 PATTERN MAKING 

so arranged as to allow a face plate for work of 
large size to be swung off over the end of the 
bed, as shown in cross-section in Fig. 23. A 
heavy cast iron tripod of sufficient weight to re- 
main steady when in use, is employed to hold 
the rest for this lathe. 

The art of wood turning has by tradition 
always been and is at the present time classified 
as a trade to itself, properly appertaining to the 
cabinet shop and planing mill; for the art, when 
applied to pattern making, differs so materially 
from that of ordinary cabinet and planing mill 
work, that it cannot be considered in the same 
category. 

The wood turner, working by gauges or marks 
on the lathe rest representing his measurements, 
depends almost entirely upon the accuracy of his 
eye and skill of his hand to obtain the required 
form and size of the piece; as the compensation 
for such work is often determined by a fixed rate 
per thousand pieces, the operator soon acquires 
a peculiar sleight for getting out a great quantity 
of material in a given length of time, which, if 
displayed in regular rows, presents an appear- 
ance sufficiently uniform to answer all the pur- 
poses for which the finished work is intended, 



AND FOUNDRY PRACTICE 55 

although it could not stand the test of rule and 
calipers. 

The pattern maker, on the contrary, works 
from a drawing of some part of a machine or 
other device, showing the figured dimensions of 
all its parts. Every figure bears an important 
relation to the finished work and each part is 
required to correspond with mathematical pre- 
cision to some other part already completed or 
in process of completion in another department 
of the same factory, or mayhap in some distant 
city. The loss of only the sixteenth of an inch 
of material in any part may mean the loss of the 
entire piece. Hence the paramount necessity 
that the maker should exercise the most scrupu- 
lous care during the process of work, stopping 
frequently as he proceeds to test his accuracy 
with rule or calipers or both, for only painstaking 
vigilance will assure to even the most adroit 
mechanic a perfect duplicate in its minutest de- 
tail of the part represented in the drawing. 
Manifestly, then, the art of the wood turner con- 
sists in turning out great quantities of pieces 
which bear to one another sufficient resemblance 
to answer the purposes for which they are de- 
signed, whilst the science of lathe turning, for 



56 PATTERN MAKING 

pattern making, lies wholly in the accuracy and 
perfection, and not in the volume of work per- 
formed. 

In operating the pattern lathe to turn out hol- 
low forms it is customary to fasten discs of wood 
to the iron face plates of the lathe with heavy 
wooden screws. The work to be turned is then 
secured to the face of these discs with other 
wooden screws passing through the wooden 
discs into the back of the piece to be turned. 
See Fig. 23. When a pattern is to be screwed 
on the face plate, these wooden discs are marked 
with the point of the turning tool at the outside 
or inside of the piece, and it can then be turned 
over and fastened true to center. 

To formulate any set of rules which will 
apply to the production of all kinds of patterns 
or to the solution of every problem in pattern 
making which may arise would involve a 
degree of knowledge and a gift of prophetic 
vision which cannot be expected to fall to the 
lot of any observer, however patient may have 
been his research or broad his experience; 
therefore, in the treatment of this work, I have 
availed myself only of such forms of patterns as 
have been successfully made under my own 



AND FOUNDRY PRACTICE 57 

supervision and observation ; using these forms as 
object lessons to illustrate the subject and impart 
to the student a practical knowledge of the essen- 
tial principles of pattern making, in order that 
he may be well prepared — assuming, of course, 
the possession of natural talent — to grapple with 
every new and perplexing problem with which 
the interminable intricacies of the craft may con- 
front him in any hour of his career. And inci- 
dentally I have introduced into this work a few 
problems submitted to me by workmen famiHar 
with foundry work in all its details, and whilst I 
have not seen these problems demonstrated by 
actual practice, my certainty as to the correctness 
of their illustrations enables me to present them 
to the reader with the utmost confidence in their 
practical value. 



MAKING THE PATTERN 

Many patterns are of the simplest form and 
require only a single piece of stuff > turned or 
carved into a proper shape, finished with shellac 
and having proper draft and shrinkage. These 
simple patterns are usually given to the appren- 
tice boys to make; for instance, the pattern of a 
cast washer, such as is represented by Fig. 1. 

Assuming this washer to be for a ij-inch rod, 
the diameter of the stock would be about 7 
inches and the thickness If inches. To make 
this pattern, a disc is cut out of wood 7|XlJ 
inches, one side is made true and straight and it 
is then secured in the center of the face plate. 
The pattern is then faced off with the diamond 
points and the center located with a pair of divi- 
ders as the piece runs in the lathe. Next a line is 
laid off for the center hole, a line for the edge of 
the O. G. and a hne for the outside. Now the 
operator cuts straight into the face plate on the 
outside line and with a very small gouge, turned 
sideways, roughs out the O. G., taking care that 
it does not jump back and tear up the work. 

59 



60 PATTERN MAKING 

When the operator is not sufficiently expert with 
the gouge to turn the O. G. it can be scraped to 
shape with the bull-nosed chisel. Next the hole 
is cut out with a small, stiff, flat chisel, leaving 
plenty of draft. When the pattern is turned it 
must be sandpapered to a polish, taking extra 
care that the hole is left smooth. Next shellac 
of any desired color is applied, and when it 
begins to set it is polished, while still revolving, 
with an old cloth and a few drops of linseed oil. 

Fig. 6 represents the piece sawed out as near 
to shape as possible and then carved or whittled 
and finished with sandpaper and shellac. 

Passing on to another class of patterns, the 
stake pocket affords an apt illustration. This 
piece is easily cast from a form as shown in 
Fig. 3. It has sometimes occurred that an old 
stake pocket has been picked up in the yard, 
smoothed off a little, the sand holes puttied up 
and the piece shellacked and used for a pattern 
for other pockets. This method, however, was 
only resorted to when it was necessary to get cars 
ready for service on very short notice. The 
usual custom and the proper method is to cast 
this pattern with a core. The procedure for this 
is as follows: First the working drawing (see 



AND FOUNDRY PRACTICE 



61 



Fig. 24, a and h) should be made up full size by 
the shrinkage rule. Next there should be laid 
out a pattern on a thin veneer of the cross sec- 





CoT-e 




TlQ 2f 



tion through the metal as it appears in the full- 
size working drawing, and the pattern cut out 
with a sharp knife. Then this pattern should 
be plainly marked with a pencil on both ends of 



62 PATTERN MAKING 

a plank of sufficient thickness and length, cutting 
away all the surplus wood with ordinary hollows 
and rounds, and this will leave a moulding of the 
exact dimensions of a cross-section through the 
metal forming the pocket. Now a block should 
be made of the exact dimensions shown in the 
working drawing and marked "Core" (see Fig. 
24, a and 6), and the prepared moulding should 
be glued to this block as shown in Fig. 24. A 
square joint at the corner is proper for this 
work. When dry, the corners should be 
smoothed up, making all parts of the mould meet 
and match. Next four holes should be bored at 
c c c c, Fig. 24 6, making the tenons just large 
enough to fit snugly into the holes. Then the 
entire work should be smoothed and polished 
making the parts which are to be iron jet black, 
and leaving the core prints in the natural wood. 
Following this a core box is to be made, 
which should be exactly of the dimensions and 
shape inside as shown by the working drawing. 
Such a box is shown in Fig. 25 and may be open 
top and bottom. In order to make a core in this 
box, the core maker puts the box together before 
him on the table. He then fills it with prepared 
sand and smoothes it off level with the top. 



AND FOUNDRY PRACTICE 



63 



Core boxes are finished and polished on the 
inside only. 

The next example is a casting which was made 
for a pump of some description. It is a cylin- 
der which had a flange at one end and a pipe 
thread at the other (see Fig. 26). As in the 
previous example, the first thing required is the 



Joi 




working drawing, which, as has already been 
stated, must show the casting, the core and the 
core prints. Fig. 27 shows a cross-section 
through the casting and core; this being the only 
drawing needed for making the pattern. This 
pattern was made by gluing together pieces of 
material of ordinary size, as a solid block sufii- 



64 



PATTERN MAKING 



ciently large was not obtainable, and It was a 
matter of no little difficulty to secure a piece of 
material of sufficient diameter to turn up the 




flange. It was also desirable that the pattern 
should be divided in the middle without ripping 
it through after turning it up. To accomplish 



• > 




J'/y 37 



this the stock was prepared as shown In Fig. 28, 
and in cross-section in Fig. 29. The pieces 
a a were first doweled together and short 
tenons, d d, made across the ends of the piece 



AND FOUNDRY PRACTICE 



65 



and so fastened together in line with the joint. 
The gain for the flange piece, b 6, was then 
cut to the desired depth clear around the piece, 



0:'i 



3 
Pi! 



1 



f 
i 

hongiiudLincil sectioji ihroiicflt . GfocTr for* Pzq SG 

and the flange pieces fitted in. The pieces, a a, 
were then taken apart and the flange pieces glued 





' ' " ~ "" V 




1 


/ / 1/ ^- 
' 1 1. ' 


..1 " , , 1 


V 




\\y>\ 




/ 


y<~l-:--'/ 









Croib 5€ctioit through 'IstooTc fo7* f^^ 

in their proper position, great care being exer- 
cised that no drops of fresh glue were left in the 
joint, otherwise the pattern would not have come 



66 PATTERN MAKING 

apart when completed. Then the parts were 
put together again, grooves of proper size were 
then cut in the blocks c c to engage the short 
tenons d d and the blocks glued on to the ends 
of the work, as shown in Fig. 28. When thor- 
oughly dry, the ends of the prepared stock were 
centered, the stock then put into the lathe and 
the pattern turned up, leaving the projecting 
ends, as shown in Fig. 27, for core prints, 
which come apart easily for the convenience of 
the moulder. 

This pattern only requires half a core box, a 
longitudinal section of which is shown in Fig. 
27; the cross-section describing a semicircle. 
Two pieces are used to make the core. Many 
moulders use ordinary flour paste to glue or 
cement their cores together. All such patterns 
should be painted in the parting just as shown 
in the working drawing, in order that the 
moulder may see at a glance just which part is 
to be metal and which core.^ 

Fig. 30 shows a cast pipe fitting which was 



'AH patterns should be painted so as to distinguish 
metal from core. Patterns for iron should be dark with 
light cores, and just the reverse for brass. All patterns 
are finished in shellac, rubbed to a polish. 



AND FOUNDRY PRACTICE 



67 



used for steam heating. This fitting has been 
selected on account of its peculiar shape, which 
admits of making the entire pattern and part of 
the core box on the lathe. 

Fig. 31 shows the working drawing, the first 
thing to be made in all cases before proceeding 
to make the 
pattern, 
reference 



drawing it will 

be seen that 

the straight 

parts a and h 

can be made 

by exactly the 

same process 

as described 

for making 

Fig. 27, with the exception that no flange 

is required. The circular portion c is turned 

out of a disc of proper size secured to the 

face plate and turned to a true semicircle 

in cro.ss-scction, as shown in Fig. 31 J, which, 

being cut across through the line of its 

diameter and placed face to face, forms the 




7^7^ J30 



68 PATTERN MAKING 

half circular portion of the pattern c, Fig. 31. 
The only difficulty to be met with in making 
this pattern is the miter joint ^, which is 
found by the intersection of parallel lines of equal 
distance from each other on the straight side, 
with similar circular lines struck from the center 



. ^^^^^ ^^^;^ ^^^^;^^^^ ^< ^^ 




Ti^ 31 

of the circular portion of the work. This is the 
common rule for mitering straight and curved 
mouldings. Or the joint can be coped together, 
the circular part of the core box can be turned 
into the face of a plank of suitable size, which, 
when cut across the line of its diameter, forms 
the circular part of the core box. The re- 



AND FOUNDRY PRACTICE 



69 



mainder will have to be carved out with gouges 
and the finished core box made as shown in Fig. 
33. It will be observed that in this pattern a 
full core box is required, that is to say, two half 
core boxes, 
made right and 
left, and dow- 
eled together. 

The next 
pattern treated 
is that of a 
double - flanged 
wheel, for use 
on an overhead 
traveling crane. 
Reference to 
Fig. 34, a and 

b, which shows an elevation and cross-section, 
will afford a clear idea of this wheel. 

There are so many ways to cast this wheel 
that it makes a nice illustration. The first thing 
to be considered is how to get it out of the sand, 
which problem we think is best solved in the 
manner shown in the working drawing, Fig. 35, 
A and B. By this method almost the entire 
wheel is cored out; but it is by no means an 




7^^ 3/r 



70 



PATTERN MAKING 



intricate task and is clearly illustrated in Fig. 36, 
which contains a sectional view of the finished 
pattern. 

To make this pattern, cut out the discs a a. 
Fig. 36, of proper size for turning up. To these 




T^a 7fC f oj tvrrnTto co-re "hote for Tiq 30 



discs glue the band h in sections, and to one disc 
the core print c. Next attach the prepared discs 
to the lathe and turn up, as shown in cross-sec- 
tion, Fig. 36. Turn up two core prints, d d, 
and dowel the two halves together, making the 
finished pattern. 



AND FOUNDRY PRACTICE 



71 



Three core boxes are required for this pattern: 
a plain half core for the center hole through the 
wheel, which has already been explained; a core 
box representing all the cavity between the spokes 
of the wheel, Fig. 38, represented by the six 




Qyte lidlf of cott lox for Tig 30 



cores marked h 6, Fig. 35, B, and a circular 
core box turned into the face of a plank (see 
Fig. 39, a and fe), which will mould half of the 
core d shown in Fig. 35, B. 

A pattern for this wheel can be made without 
coring out the flanges, by contriving the pattern 



72 



PATTERN MAKING 



to part near one side or at any place which will 
permit the successful withdrawal of the half pat- 
tern. For a wheel cast after this pattern a three- 
part flask or a flask made of three boxes with a 
parting made between each box is employed. 
(See a a, Fig. 37.) It is possible to cast this 




o^ 




TJj 3^ 



pattern in a two-part flask without any core 
whatever, and although this method is not recom- 
mended because of its greater cost and inferiority 
to other ways of doing the work, it is well that 
the pattern maker should be familiar with the 
process. To make this pattern the wheel should 
be made as shown in Fig. o34, with spokes and 



AND FOUNDRY PRACTICE 



73 



hub complete. The center hole, the hub, both 
sides of the rim and the spokes should have am- 
ple draft and the lower flange should be left loose 
so that the pattern will part at the line a b, Fig. 
o34. 

To mould this pattern, the cope is laid down 




T75 3<r 




in an inverted position and filled about half full, 
or within about two inches of the top, and the 
sand smoothed down solid. The pattern is then 
turned with the spoke side up and pushed down 
hard into the sand. It is then taken out to see 
that the impression is perfect, and a parting is 
made at i. The pattern is then put back in its 
place and the parting c-d and e-j is made. Th^ 



74 



PATTERN MAKING 



sand is then filled in to g-h and a second parting 
is made at c-g n-j. Now the drag is put in place 




and rammed up. The flask is then inverted and 
the vents made, when the pattern will appear as 
in Fig. o34. The cope, which should part along 



C o 73 e. J. •... '• >.'•'" 









&hoY/inq hoW I^rtjSt nrny levtoiildecl rn a It/o par t 



the line c d i e f, is now removed, as is also the 
pattern from the line a b upv/ards. The flask 
should then be put together and turned over, 



AND FOUNDRY PRACTICE 75 

removing the drag, which should part along the 
line c g hf, after which the flange is removed. 
The flask is now put together again and turned 
over, which completes the work, and it is ready 
to receive the moulten metal. If the pattern is 
exactly right and the moulder is both expert and 
amiable, the casting can be made in this way, 




Joi-n t 



Tig ae 

but this method is given more as an illustration 
of what can be done than as a sample of good 
pattern shop practice. 

Many difhcult or otherwise impossible forms 
can be cast by using a three-part flask. The 
double-flanged gear wheel, Fig. 40, a and 6, is an 
illustration of work usually cast in a three-part 
flask. It can also be moulded in a two-part 



76 



PATTERN MAKING 



flask by making a double parting in the sand, as 
shown in Fig. 37. Or the gear can be cored 
into the wheel. 

The next problem treated is that of an ordi- 
nary brake wheel or hand wheel, such as is used 
on freight cars, and which will serve more to 
illustrate wheel making in general than any 




Tig 3© 

peculiarity in the construction of this particular 
piece. In this pattern. Fig. 41, nothing is re- 
quired but a plain wooden wheel. The square 
hole in the center, being tapered, makes its own 
core. 



AND FOUNDRY PRACTICE 



77 



When a great number of wheels arc wanted 
the pattern is bedded half its depth in plaster of 




Tf'q o3 -y 
CraiJ jMfjoTi throtigh.nxoulot ^l^^y/a^ pattern -in tTtc sanB. 



Paris and the plaster cast so obtained is used for 
a follow board. This arrangement brings the 





ri^ -»o 



parting to the center of the pattern without the 
use of the trowel. 



78 



PATTERN MAKING 



To make this pattern it is best to lay out on a 
plain board the design or outline, as shown in 
Fig. 41, dividing the rim into any number of 
equal parts. In this case there are six equal 
parts. One of these parts is a suitable pattern 
from which to saw out the rim, allowing a little 

extra wood 
on both sides 
for turning 
up. Hav- 
ing roughly 
sawed out 
the parts of 
the rim, fit 
the joints 
together, on 
the drawing 
or outline, 
" taking care 

that the parts of the rim are so fitted 
together that they will describe in the rough as 
nearly as possible a perfect circle. Then glue 
the second layer on to the first, breaking joints 
with the sections, so as to form a rough ring, as 
shown in Fig. 42. Next secure this prepared 
ring to the face plate in proper position so that 




Tis ^f 



AND FOUNDRY PRACTICE 79 

the tool will cut as nearly even all around as pos- 
sible and turn up the ring so that it will be in 
cross-section, as shown in Fig. 43, using a thin 
wood or metal pattern to secure the desired 
shape. (See Fig. 43.) Now, with the turning 
chisel, mark the face plate lightly as a guide, in 




order that the ring may be turned over and yet 
be secured to the face plate in its exact former 
position. Another way to maintain the ring in 
its proper position when turning it over is to tack 
four httle blocks or brackets to the face plate so 
that they will just touch the work to be turned 
over on either the inside or outside of the circle. 



80 



PATTERN MAKING 



These blocks or brackets always bring the work 
to its exact position in reversing. Now proceed 
in like manner with the reverse side of the piece 
and the result will be a round ring, which will 

be round also 
in cross-section. 
Then get out 
the hub of 
proper dimen- 
sions, mortise a 
tapered square 
hole in the cen- 
ter for the brake 
staff, cut six 
gains in the hub 
and in the rim 
to receive the 
ends of the 
spokes, and se- 
cure both hub 
and rim in their 
proper relative positions to the plank, using 
the working drawing as a guide to put the 
parts together. Provide six spokes of the de- 
sired form and fit them neatly into the gains. 
All the parts should be snug and tight enough in 




-rig -^3 



AND FOUNDRY PRACTICE 81 

their adjustment to one another to require only 
a light blow to drive them home. (See Fig. 44.) 
Lastly finish up the spokes as desired and coat 
with black shellac varnish. 

The making of cog or gear wheels is one of 
the most important features of the pattern 




maker's trade, and although a drawing or blue 
print is usually provided in repair shops, the old 
cog wheel itself is sometimes given as a guide. 
A brief review of the principles of gear work and 
the technical terms employed by mechanics in 
relation to it will serve the purpose of this vol- 
ume, inasmuch as every pattern maker should 



82 



PATTERN MAKING 



A 



' ' 1^ 



possess a reasonable knowledge of the principles 
and practical operation of the machinery in com- 
mon use for which he may be at any time called 
upon to produce patterns. 

Gears are either straight or beveled. Straight 
gears are square on the face and transmit power 
from one shaft to another one running parallel 
to it. Beveled gears have 
their faces at an angle with 
the line of the axis on which 
they revolve, and transmit 
power from one shaft to an- 
other running at an angle, 
usually at a right angle, to 
itself. The pitch line of a 
gear wheel is an imaginary 
line running around the wheel 
through the cogs at a point 
which is governed by the number and size 
of the teeth. The pitch diameter would be 
the diameter of the wheel at tliis imaginary 
line. This pitch line is located at the point 
where the wheels would touch each other if, 
instead of being toothed or cogged, they were 
plain friction wheels. The circular pitch of 
a gear wheel is the distance from center to 



-su 



.k--. 



JTrj ^r 



AND FOUNDRY PRACTICE 



83 



center of the cogs on the pitch Hne, and is found 
by dividing the pitch line into as many spaces as 
there are cogs in the wheel. All calculations in 
reference to gear wheels are made from the pitch 
line. Cogs are always .7 of the circular pitch in 
length, of which .4 lies inside and .3 outside of 
the pitch line. The thickness of any cog is 
always xVo of the circular pitch. (See Fig. 46.) 




Let it be assumed of a gear wheel of any con- 
venient size, that it is 21 inches in diameter at 
the pitch line, with any convenient number of 
teeth, say 44. For all practical purposes an 
accurate measurement of the circumference of 
this wheel would be accepted as G6 inches^ at the 
pitch Hne, and the pitch 66-^44=1.5 inches. 

*The decimal is 65.9736. 



84 PATTERN MAKING 

The root of the tooth — that part inside of the 
pitch Hne — being .4 of the circular pitch, would 
give 1.5''X.4=.6 of an inch inside of the pitch 
line as the base of the tooth. Now, as it is cus- 
tomary to make a gear wheel plain and then glue 
the cogs to the face of the rim, it follows that 
the radius of the wheel would be the radius of 
the pitch line, minus the root of the tooth, or .6 
of an inch, making the wheel at the base of the 
tooth 1.2 of an inch (.64-. 6= 1.2) less in diameter 
than 21 inches, or 19.8 inches. Then the total 
length of a cog, being .7 of the circular pitch, 
equals 1.5 X. 7= 1.05 inches, which is the length 
of this particular tooth. Its thickness being .48 
of the circular pitch gives 1.5X.48=.72 inches 
as the thickness of the tooth on the pitch line. 
Hence the solution of the problem calls for a 
wheel 19.8 inches in diameter, to the outside 
surface of which, at regular intervals, determined 
by accurate measurement, there should be glued 
cogs or teeth which are 1.05 inches in length and 
.72 inches thick at the pitch line. 

All wheels are more or less alike; therefore it 
would be superfluous to treat the minor problems 
of wheel patterns in this work, as every workman 
who understands the general principles involved 



AND FOUNDRY PRACTICE 85 

will use his own judgment and discretion in such 
cases, especially as the nature of the work, the 
size of the wheel, the strength of parts, etc., will 
always be the controlling factor in the construc- 
tion. 

Assuming that there has been constructed a 
wheel which has been turned to exactly 19.8 
inches diameter by the shrinkage rule and the 
face of which has sufficient draft, the sur- 
face is divided into 44 equal parts by scribing 
square across the face of the work, with a pointed 
instrument or penknife, and marking the scribes 
on the sides of the rim. The teeth are gotten 
out to approximately the proper shape and size. 
Then into a piece of thin hardwood a hole is 
made exactly the shape of the desired tooth. 
The teeth should then be carefully finished with 
hand tools so that they will just pass through 
this hole, allowing a very little draft in each tooth 
and marking the tooth in such manner as to 
easily distinguish the allowance made when the 
work is being glued together, in order that the 
draft may all be the right way. An exact center 
mark should be made on each end of the cog, 
matching exactly the marks on the rim of the 
wheel. Next the cogs should be glued to place, 



86 PATTERN MAKING 

using care that the center of each cog is exactly 
with the dividing marks on the wheel. Small 
brads are used to hold the parts in place until 
the glue dries, and when thoroughly dry the work 
should be dressed up with sandpaper and a 
small fillet of beeswax run along both sides of 
the base of the tooth, pressing it in place with an 
irod rod which has been warmed over a spirit 
lamp. To finish, shellac varnish, as before 
described, is used. 

Patterns of this class are usually parted by the 
moulder's trowel along the center of the spoke 
and at one edge of the rim. 

Fig. 47 represents a pair of miter gear wheels 
in mesh. Beveled gear work may be either a 
mitered gear wheel as shown (in which case the 
pitch line is at an angle of 45° from the shaft, such 
a gear transmitting power from one shaft to an- 
other at equal speed) ; or, in cases where a different 
speed is required, one wheel will be larger than 
the other (in which case it, the pitch line, will 
be any angle which the nature of the case 
may require). The making of a miter or 
beveled gear pattern, while not necessarily a 
very difficult piece of work, requires persistent 
care and skill. The. pitch of a beveled gear is 



AND FOUNDRY PRACTICE 



87 



an imaginary line, a a. Fig. 47, which Hne repre- 
sents the surface of cones working as plain fric- 
tion wheels. Any variation in the relative sizes 
of these two cones would also change the angle 




TVg -f V 



of the pitch from the axis of the wheels. To 
change the angle of the axis from a right angle 
would also determine the angle of the pitch line. 
To more fully illustrate the manner of laying out 
Fig. 47, see Fig. 47^. Here a h and a c repre- 



88 



PATTERN MAKING 



sent the axis on which the gear revolves and a a 
the pitch Hne. Assuming, for convenience of 
calculation, that the pitch diameter d-e and d-f 
are 7 inches in length and the number of teeth 
22, the circumference at the pitch diameter 













/ ^' 






























I 






9 ' ^\. 




^ 


« 








1 




"^ 


^ 






N "^^^ 1 




>^ 


* 


\ 


\ \.^ 




/ 


/ 


f 




\ 


/^^ 


\ 


t: / 


/ 


/ 






\ ^^ 


\ 


^ • X 


/ . 


' 






\^^ \ 


v\ 


' • .^y'^^ 


' 








^"^^-^ 


J\ 


_l-i<f'^^ 


1 - . 


Tt'/clt 




7" 


citn /liefer 


- J 


x^"" 


K 








J\ 




< 




S 




7>f -^7i 




\~ 













will be 22 inches^ and the circular pitch at this 
point 1 inch. Hence by measuring in .4 of an 
inch at a right angle from the pitch line a-a^ 
and a-f at the pitch diameter, the profile of a cone 
is obtained to which the teeth or cogs may be 

*The exact decimal is 21.9912. 



AND FOUNDRY PRACTICE 89 

glued with accuracy and precision. The calcula- 
tion for both ends of the teeth should be made 
by the rules given for gear work, i.e., turn up the 
cone and lay it off into 22 equal spaces, square 
up for the centers of the teeth with the centering 
tool (Fig. 48), glue the centers of the cogs to the 




centers so established and finish in the usual 
manner. 

Fig. 49, showing an iron dome with projecting 
ornament at the top and a handle at each side, is 
here introduced as a sample of what may be 
done with hollow cores. Assume that a rough 
form has been glued up as shown in cross-section 
in Fig. 50. Attach this form to the lathe and 
turn out the inside first, otherwise it will be im- 



90 



PATTERN MAKING 



possible to turn that part. Reverse the pattern 
and finish the outside, as shown by the shaded 
portion in Fig. 50, and attach square core prints 




for the handles and finial. Make suitable core 
boxes for these prints, which core boxes should 





Ti^} so 



be constructed so that the bottom of the box is 
the center of the core. In this case the cores go 
together just the reverse of the ordinary way. 



AND FOUNDRY PRACTICE 



91 



Next turn out the handles and finial of the de- 
sired form, rip them apart and fasten the halves 
into the bottom of the core boxes as in Fig. 52. 
A core moulded in one of these boxes will have 
an impression of half of this turned piece in the 
face, and when the two halves are pasted together 



i 






1 







Cron section ihraiiqjk flask ahaWiiig metaH Gc cores 



a proper cavity is left to mould the desired form, 
which can then be put into the cavities in the 
sand left by the core prints on the pattern, and 
which will then appear as in Fig. 51. In this 
pattern it will be necessary to make special pro- 
visions for supporting the sand in the cope, other- 
wise it will have a tendency to fall off in han- 



92 



PATTERN MAKING 



dling. Iron kettles with flaring legs and round 
ears are cast in this manner. Others have the 
leg straight on one side so it will draw readily, 
and the ear is made in two pieces, which are 
loose from the pattern and remain in the sand 
until the pattern is withdrawn. It is well to 
remember that any projecting part of a casting 
which is of such a shape that it can of itself be 
drawn out of the sand, may often be left loose 




Tig S-SL 

Cto^^ oectian ihroujh core lcK£^forTi^ 9t 



when on account of some angle it is prevented 
from being drawn with the pattern, in which 
case it remains in the sand until the pattern is 
drawn, after which it is easily taken out. 

There are many patterns which from some 
peculiar formation are much easier to mould if a 
special follow board is made for them, and on 
account of a delicate form of construction are 
much easier to make by first making a follow 
board of the desired shape and then building 



AND FOUNDRY PRACTICE 



93 



the pattern up piece by piece upon this form; 
for instance, the curved grates in stoves, the cast 
basket racks in passenger cars, etc., etc. Espe- 
cially is this true of small, curved open work 
castings, where it would be tedious, not to say 
impossible, for the moulder to make a nice part- 
ing in the sand with the trowel. By the use of 
a follow board, which exactly fits the plain side 





TJ^ 53 



of the casting, the parting is made without any 
trouble. As an example of a pattern of this 
kind the aisle end for a car seat has been 
selected. This pattern was arranged in such a 
manner as to be divided in the middle, so that 
the upper portion is cast separate from the leg 
and used for the wall end of the seat. (See Fig. 
53, a and 6.) 



94 



PATTERN MAKING 



The first step in this case was to make up 
the follow board (Fig. 54), on which the aisle 




7V^ S-f 



end was laid out full size, taking dimensions 
on a straight-edge and carrying them over 




TJQ erg- 
37rO'v\'9 yrnisTn^ fnijitterrt -in place on faJfoW JocrcL 

to the curved surface. In cases where the fin- 
ished pattern had to project below the face of 



AND FOUNDRY PRACTICE 95 

this follow board, as shown by the core prints 
a-a and the sockets for the seat rails 6 6 in Fig. 
55 y the wood was mortised out to the desired 
depth. After this the pattern was gotten out 
piece by piece, fitted to the board in its proper 
place and secured with small sprigs until the 
glue joints hardened, care being taken not to 
glue the pattern proper to the follow board. In 
this case it was necessary to allow the arm, 
which carried the back cushion from side to side 
in reversing the seat, to pass behind the socket 
h by Fig. 55 y thus making it necessary to core 
out a slot between the socket for the seat rail 
and the aisle end, which was done as shown 
by the cores a a, Fig. 55. These are samples of 
balanced cores, which will be explained further on. 
This pattern has a joint at ccc. Fig. 53, so 
that it may be cast without the leg being made 
fast against the wall of the car. 



CASTING WITH PART PATTERNS, 
SWEEPS, OPEN SAND WORK, ETC. 

Castings are sometimes made without regular 
patterns, or with only a portion of the pattern. 
Some castings are made by the use of straight- 
edges, curves, etc. Other castings are made 
with sweeps. Many of these methods have come 
down to us from periods of remote antiquity. 

Recently in the foundry of at 

the moulders were making a slab of iron 2 feet 
wide and 5 feet long, with a rim around the 
under edge and V-shaped cross bars or ribs on 
the under side at intervals of about 6 inches each 
way. (See Fig. 56, a b.) 

There was no pattern for this work at all; but 
instead there were some 1X2 inch strips and a 
straight plank, v^^ith a V-shaped edge. To make 
this mould, the floor of the foundry was leveled 
off with the straight-edge, the grooves rubbed 
into the sand with the V-shaped edge of the 
board and the 1X2 inch strip laid down to form 
the line of the outside of the casting. Against 
these the sand was packed level with their tops 

97 



98 



PATTERN MAKING 



and smoothed off. The cope was made with a 
straight edge. 

A very simple and useful "kink" was employed 
recently in the case of a large piece of machinery 
which was damaged in shipping. It had a large 
circular gear about 8 feet across without spokes 
or hub which was broken in two or three pieces. 
This was an old, out-of-dale machine and it was 





r~i 


1 — 


1 


! 


I — 




L 




d 






! 




1 
























r 


! 






cc 




! 




L — 


—J 





not possible to procure a gear from the original 
pattern and it was considered too expensive to 
make a new one, as only one casting was re- 
quired. In this emergency the services of an 
expert pattern maker were enlisted. This work- 
man prepared a pattern of one-sixth of the gear, 
which he fixed to two wooden bars, so arranged 
as to swing around a center pin in the top of a 
stake, which was driven firmly into the floor of 
the foundry. (See Fig. 57.) 



AND FOUNDRY PRACTICE 99 

To make the mould from this partial pattern, 
level off the foundry floor with a straight-edge. 
The center stake is then driven and left standing 
up above the floor the thickness of the casting. 
The partial pattern is next put on the center pin 
and rammed up, leaving both ends open. After 




^IS 



57 



this it is lifted and moved, taking (jare that the 
last cog on the pattern exactly fits the impression 
in the sand. Ram this up again and move the 
pattern as before. Continue this until the com- 
plete circle is made, which will be an impression 
of the complete gear. Since seeing this I have 



100 PATTERN MAKING 

used the same plan for making mud rings for 
boilers with perfect success, thereby saving much 
valuable time and material. This method is not 
recommended in general practice; but where a 
single casting is all that will ever be needed, the 




making of an entire pattern can and in some 
cases should be avoided. 

Another problem of a similar nature is found 
in making a large pulley or flywheel where the 
cost of making the pattern is not justified by the 
number of v»diecls required. To make the mould 
for such a pulley, first construct the form of the 
radius desired for the rim of the wheel (see Fig. 



AND FOUNDRY PRACTICE 



101 



58), and in case of a belt wheel, make the rim 
of the shape desired to hold the belt centrally on 
the face of the pulley. Now secure this form to 
two arms so fixed as to cause it to swing around 




Tig S9 
Core tor for. f\g €/ 



a center stake at the proper radius. Make up a 
core box of exactly the shape of one-sixth of the 
wheel inside of the rim; that is, the radius of the 
outside of tlie core box should be the thickness 



102 



PATTERN MAKING 



of the rim less than the radius of the form. Get 
out the rib, a-a. Fig. 59, and glue it in place. 
Turn up a hub one-half its length, cut it in six 
parts and glue two of the pieces into the apex of 
the core box, as in c, Fig. 59, leaving a slot or 
mortise for withdrawing the spoke. Make one 
spoke and secure the joint with a dowel pin at 
6, Fig. 59. This will be better understood by a 



1 










M !• 






i/'i'l'i'i'' 

^aiiiijiii 










4;:' ill' 





7Vy oo 
C'ros^ Aectxo7t tTt-roii^Tt core bo-x for Ti<j Gi 



study of Fig. 60. A round core is also required 
for the center hole. The center stake should be 
turned up of proper size so that when drawn out 
or driven down it will leave a print for the center 
core. 

To make a mould from this set of patterns, 
first make six cores in the core box (see Fig. 59 
and Fig. 60) , and one round core for the center. 
Level off the floor of the foundry and drive the 



AND FOUNDRY TRACTICE 103 

center stake down level. Then put in a small 
iron center pin and set the form (Fig. 58) on it. 
Bank the sand solidly against the outside of the 



- c 



O 



&7tcWrJrff y7io7/Jd w/M coyrtf in palace 

pattern, level with the top, moving the form and 
continuing the operation until a complete circular 
pit is formed of the depth of the pattern. Re- 
move the form and the center stake, leaving as 
much of the hole made by removing the stake as 



104 PATTERN MAKING 

is required for a core print for the center hole. 
Place the six prepared cores in position, taking 
care that the proper thickness of the rim is 
maintained clear around the wheel. Place the 
center core in position, pushing it down until it 
is level with the face of the wheel. The finished 
mould is shown in Fig. 61. 



SWEEP WORK 

Sweep work or swept up moulds are moulds 
made entirely without a pattern, and can only 
be used for circular forms which, for reasons 
of economy or otherwise, it may be deemed ex- 
pedient to have cast without the expense of a 
pattern. The sweeps are nothing more than 
plain plank cut to the desired form and arranged 
to revolve around a stake driven into the floor of 
the foundry. The sand is packed in front of the 
sweep and the sweep moved around, thus scrap- 
ing the surplus sand away until the desired form 
is obtained. Sweeps are beveled on the edge so 
as to push or pack the sand ahead of them as 
they move around the center stake. There are 
various ways of making and using sweeps. The 
ordinary way to sweep a pattern, where the form 
is such as to admit of doing so, as shown in Fig. 
63, is to make a sweep of the exact form of the 
outside of the casting and another one that is 
exactly the thickness of the casting, but deeper. 
On the second sweep the form and thickness of 
the metal is painted black. (See Fig. 64, a.) 

105 



106 PATTERN MAKING 

It will be seen that this pair of sweeps are so 
arranged as to form a rabbet in the sand, which 
insures the cope being centrally located. 




To make a mould for Fig. 63 with this set of 
sweeps, the floor of the foundry is first leveled 
off and a stake driven down, leaving enough 




Try G3 

above ground to operate the sweep. The first 
sweep is then put on, the sand packed about the 
stake and a hill is formed representing the out- 



AND FOUNDRY PRACTICE 107 

side of the casting. When complete, a parting is 
made and the cope placed in position and 
rammed up. Gates are then made and the cope 
removed. The second sweep is now substituted 
for the first and the sweeping continued until a 
perfect form is produced of the inside of the 
casting. Now the sweep is removed, the cope 
placed in position and the mould is complete. 







A much more diflficult operation is one where the 
casting is of such a form that it is impossible to 
lift the cope from the outside. (See Fig. 62.) 
In this instance a hole is swept into the drag — or 
foundry floor, as the case may be — having the 
form of the inside of the casting. (See Fig. 64.) 
The cope is then placed in position, rammed up 
and removed. The second sweep is then placed 
on the stake and the sweeping continued until a 



108 



PATTERN MAKING 



perfect form of the outside of the casting is 
obtained. (See Fig. 65.) The stake and sweeps 
being removed and the cope placed in position, 
the mould is complete. The difficulty in this 
case is in handling the cope, for which special 




^ -patr^oftmimttry awe^Tja 



arrangements should be made for supporting the 
sand. 

It is possible, for certain special work, to sweep 
both cope and drag; but it is seldom done. 

There are various reasons for using sweep 



AND FOUNDRY PRACTICE 



109 



work, the first and most common of which is 
from a consideration of economy, as where a 
pattern is large and costly and only one or more 




C/-rcy<i3 se^c-tfoii tltToiisT* :5^noh€ "hot c^oor 



no 



PATTERN MAKING 



pieces are required, it is often better to use 
sweeps, as they save the cost of making a pat- 
tern. The cost of moulding from sweeps, how- 




'•^•^;v.b;.:'^::-;M1: 






ever, is more than from a pattern, and in very 
heavy work the saving of the extra cost would 
pay for the pattern. It is possible to sweep a 




pattern which will not draw in the ordinary 
manner, also circular castings having projections 
of various kinds may be swept by having wood 



AND FOUNDRY PRACTICE 



111 



patterns of the projecting parts. To illustrate 
this is cited an instance of a casting which was 
made at the Frisco R. R. shops last winter at Cape 
Girardeau, Mo. This casting was the door on 




the front of an engine, usually termed "the smoke 
box door." It was required to cast hinges on 
this door, together with some other minor projec- 
tions not necessary to illustrate. The first thing 
done was to make, on a 
piece of heavy manila paper, 
a regular working drawing 
in cross-section of the re- 
quired casting. (See Fig. — = 
064.) Then the perpendicular line a b for 
the center of the sweep was drawn. The 
sweeps can be laid out by pricking through 
the drawing. The upper line gives the shape 
of sweep No. 1 and the lower one sweep 




Tigs'/* 



112 



PATTERN MAKING 



No. 2. A face view of this casting is given 
for the purpose of locating the hinges, etc. 
(See Fig. 063.) Next wood patterns of the 




7Vy ©s 



hinges were made, leaving the pivot holes to 
be drilled after the casting was completed. 
Then into a suitable drag box or the foundry 
floor a stake was driven to such a point 

as to allow No. 1 
to turn freely 
with the outer 
end at the part- 
ing in the box 
or floor. Then 
the sand was 
packed and the sweeps moved until the form 
was perfectly true and complete. Next a 
parting with dry sand was made in the usual 
w^ay and the wood patterns were set in position. 




Ti_3 ^B 



AND FOUNDRY PRACTICE 113 

care being taken that they were exactly in posi- 
tion, where they could be secured by packing a 
little sand around them. Now the cope was put 
on and rammed up, great care being taken not to 
move the hinges. Next 
the cope and hinge 
patterns, which re- 
mained in the cope, 
were removed. Now 7:)^ ^^ 

the center stake was ^^^^ 

driven down exactly the thickness of the cast- 
ing by measurement, and sweep No. 2 was 
put on, which cut away exactly the size and 
shape of the required casting. Then the 





A. 'bala.rtfed. core 



stake and the sweep were removed, the cope 
replaced and the mould was finished. 

To lay out any sweep, it is only necessary to 
make a full-sized working drawing of the desired 
casting. Then look carefully at this drawing 
and see just how it ought to lie in the mould. 



114 PATTERN MAKING 

Then turn the drawing that side up. The upper 
Hne of the drawing is sweep No. 1 and the lower 
Hne is sweep No. 2, which also has the line of 
No. 1 laid out on it and the shape of the metal 
painted black. It is also customary to add an 
angle to both sweeps, as shown at c in Fig. 65. 
This acts as a guide for gauging the thickness of 
the metal and insures proper locating of the cope. 
It is frequently a matter of great convenience 
to be able to sweep up quickly a large core, such 
as for the cylinder of a locomotive or other hol- 
low work where nothing more than a plain, 
straight core is required. This can easily be 
done by the use of two half-circles of plank of 
the desired radius, secured in position with three 
strips of wood, as shown in Fig. 6Q. The core is 
packed in this frame and swept off with a straight- 
edge. Or it may be required to sweep up a 
straight, round core of different diameters, hav- 
ing offsets, etc. To do this, get out a plank 
which is of the shape and size of a longitudinal 
section through the center of the core, as at 6 in 
Fig. 67a, allowing for the thickness of the half 
circles / /. Fasten the half circles / / in place, 
and if possible secure them from warping with 
good heavy angle irons let in flush with the 



AND FOUNDRY PRACTICE 115 

wood, as at c c, Fig. 67a. Now get out a 
sweep, a. Fig. 67a, which exactly fits the side of 
this plank or bottom board. Hang the sweep 
by the two arms c c to the center pins d d; all 
of which will be easily understood by referring to 
Fig. 67a and Fig. G7b, The sweep a should be 
beveled on both sides towards the center on the 
working edge, so that it will press the sand in as 




T^ould for fhited ceRum n ma^t entirely ef core^ 

it passes back and forth over it. To make a 
half core on this device it is only necessary to 
pack the sand on the bottom board and pass the 
sweep a backwards and forwards over it, filling 
in sand until the desired form is obtained. 

Fig. 68 is designed to illustrate the manner in 
which bolt holes, etc., are moulded at right 
angles to each other through a casting. By 



116 PATTERN MAKING 

referring to the drawing, Fig. 68, it will be 
observed that the holes 6 6, if slightly tapered so 
they can be drawn out of the sand, will leave 
their own core; while the hole a, Fig. 68, will 
not draw out of the sand with any core yet de- 
scribed. For ai] such work a peculiar core and 
core box, called a stop core, are used. For this 
purpose a peculiarly shaped core print is put on 
the pattern, as shown in Fig. 69. It then 
becomes necessary to make a core box which will 
mould a core as shown at a in Fig. 70. At 6, 
Fig. 70, is shown a cross -section through the 
casting, with the core in place. 

In many cases it is necessary to use cores 
which, from some peculiarity of the design, will 
have no support at one end and have a tendency 
to fall down, or at least sag enough to make the 
casting thin on one side. In such cases the core 
and core print are made long enough for the core 
to lie in the core print without tipping down. 
These are called balance cores. (See Fig. 71.) 
In other cases cores may be so long as to sag of 
their own weight. When this is liable to occur, 
small iron pieces called "bridges" are put under 
them. These fuse with the heat of the metal 
and become part of the casting. In some in- 



AND FOUNDRY PRACTICE 117 

stances it is necessary to nail the core in place to 
keep it from floating. 

In cases of very complicated designs it is some- 
times more convenient to make the actual mould 
for the casting entirely of cores, in v/hich event 
the pattern would bear little resemblance to the 
casting, but would, instead, have the form of the 
cavity in the sand which would be required to 
hold in position the cores, forming the actual 
mould. As an instance of this, observe Fig. 72, 
which shows a cross-section through such a 
mould, made for casting a fluted column. In 
this instance the pattern would be a plain 
hexagon. This is only referred to as being one 
of the many possibilities of pattern making and 
is not cited as being ordinary shop practice. 

Having covered pretty thoroughly the common 
every-day problems which come to an ordinary 
pattern shop, a pattern is now illustrated which, 
when properly made, is a simple matter; yet 
before the reasonable solution of this problem was 
found, it had cost the firm doing the work a 
large sum of money. The problem was to cast 
a triple locomotive chime whistle, having three 
separate compartments of different lengths in the 
bell, and three chambers for steam in iho base. 



118 



PATTERN MAKING 



This pattern was first made, or rather at- 
tempted, and some three or four whistles were 
cast from it. It was so compHcated a piece of 

work that an ordi- 
nary moulder could 
not put it together 
and get a mould 
from it; in conse- 
quence it had always 
to be taken to the 
foundry by the pat- 
tern maker. The 
foundry made a 
labor charge of $5.00 
on this work, in 
addition to the weight 
of the brass, for each 
and every whistle 
cast. Having de- 
cided that some im- 
provement could be 
made in this pattern, 
it was sent to the 
shop and remodeled and some slight improve- 
ments were made. However, it yet remained a 
very unsatisfactory piece of work. It was given 




AND FOUNDRY PRACTICE 



119 




Cross 3rcHo-n of iell 



to C. W. Sherwood, now of Racine, Wis., who 
produced the pattern as here shown, which has 
proven very satisfactory 
in its operation. 

A clear idea of this 
casting may be derived 
by reference to Figs. 
73, 74 and 75. Fig. 73 
shows a cross-section 
through the bell of the 
whistle and the base, 
both of which are hol- 
low and in three compartments. The first com- 
partment extends the full length of the bell; 

the next is shorter, 
extending to c, 
Fig. 73, and the 
third still shorter, 
extending to 6, 
Fig. 73. In pro- 
ceeding with a 
work of this kind, 
the first requisite 
is a working draw- 
ing of full size, and one which should be as 
nearly complete in every detail as it is 




7>y rs- 



Cro9 s 3cetzoi t of Arae 



120 



PATTERN MAKING 



possible to make. Next make the pattern for 
the bell, Fig. 76, and the base, Fig. 77. 
Now make the core box as shown at a-b in 
Fig. 78, two slides, c-c. Fig. 78, being made for 



Thr-ft rry 




the openings at the upper end. One slide 
reaches almost across the opening and joins with 
the partition slide d^ Fig. 79. The other cuts 
off even with the inside of the core box and is 
only designed for closing up the slot when not 



AND FOUNDRY PRACTICE 



121 



needed. Next make the partition slides d. Fig. 
79, one for the middle partition c and one for 
the short partition b, Fig. 79. Now make two 
more slides e e, which are the dupHcates of the 
slides d d, except that they cut off at the inside 
of the core box. These also are only used to 
stop up the slot when not in use. Next make a 
center pin d. Fig. 78, and rip it in halves, cut- 
ting out the little gain 
e. Fig. 79, so that the 
sweep g g. Fig. 79, can 
work clear down to the 
bottom of the bell of 
the whistle in sweeping 
out the half partition c c, 
Fig. 79. These centers 
should be made right 
and left, in order that the core box may 
reverse. At /, Fig. 78, is a half plug which 
is changed over in reversing the core box. 
The holes hh-hh. Fig. 79, are made so that 
a small iron rod may be driven up into the core 
to prevent it from breaking apart. Fig. 80 is a 
cross-section of the core box for the base of the 
whistle. The box may be made in only two 
parts by allowing a Httle draft at e. Fig. 80. 




ris Tj 



122 



PATTERN MAKING 



The top b is turned up, as shown, and the par- 
titions d d d glued to it. The cores c~c. Fig. 80, 




make the vent holes c c c, Fig. 75, which let the 
steam out into the bell of the whistle. 



(_^ 5*lerp 




There is a variety of cast parts used in locomo- 
tive and car work, such as draw bars, truck 



AND FOUNDRY PRACTICE 



123 



pedestals, oil boxes, etc. These castings, while 
apparently very common and rough to look at, call 
for considerable 
skill in the mak- 
ing of the pattern. 
As a sample, an 
ordinary oil box 
has been selected. 
(See Fig. 81.) 
This will be more 
fully understood 
by studying the two sectional views of the 
castings. Figs. 82 and 83. A complete working 




a/ 



r^ &o 




oil ion . f<rr /r-eig7tt Cai» 

drawing is shown in Figs. 84 and 85. To make 
this pattern, first prepare the working drawing 
on heavy paper and prick out the outlines com- 



124 



PATTERN MAKING 



plete and transfer them to a plank of proper size. 
With this plank as a pattern, cut enough mate- 




f>tat€D 



JiOTtij itudtual section throtigh oil hot 



rial to build up a block of the entire thickness of 
the core, making the parting in the center. 
Next get out two side 
pieces of sufficient thick- 
ness to complete the pat- 
tern. (See a 6, Fig.85.) 
Now dowel the two cen- 
ter pieces together and 
glue up the remainder 
and this will form a block 
roughly resembling the 
,=^= = ^== desired pattern. Then 
carve this into the required form with the 
paring tools, gouges, etc., and when finished 




7y g^ 

Cro33 section through oil box 



AND FOUNDRY PRACTICE 



125 



paint the inside as in Fig. 86. The core print 
a, Fig. 86, and the hinge for the lid 6, Fig. 86, 




£5 MS 

3ecf tona l Worhhg ayaW^nff ^ rfHlt cm-K W rii \i9 

should be added to the original block. This 
hinge may also have the slot for the lid cored 
through it in the ordinary way; that is, by put- 




Parfirt^ 



Vforkinj drawing Xoohin^ HoWrt 

ting the necessary core print on the outside of 
the hinge piece, but this cannot be illustrated 



126 



PATTERN MAKING 



in this view of the pattern. Next make a com- 
plete core box, as shown by the working drawing. 
Half of such a core box is shown in Fig. 87. 
Little strips of wood a. Fig. 87, or blocks 6, 
Fig. 87, can be tacked into the core for any 




ria fie 

ffd7f of f-rnisiheS paHeitt 

slides, projections, etc., that may be required by 
the nature of the work. A rather neat piece of 
work is a double-flanged elbow for a steam pipe, 
as shown in Fig. 88. Assuming this to be for a 
small pipe, say 4-inch, it becomes a simple 
piece of lathe work. Having made a proper 



AND FOUNDRY PRACTICE 127 

working drawing (Fig. 89) for determining the size 
of the parts to be made, prepare a piece of material 
of suitable dimensions from which to turn out a 
ring, which should be a perfect semicircle in 




cross-section, as shown in Fig. 90. This ring is 
then cut into quarters, two of wliich make the 
principal part of the pattern. Next turn up two 
pieces (see Fig. 91) in two parts each. These, 



128 



PATTERN MAKING 



when doweled to the quarter circles already 
mentioned, make the desired pattern, as shown 




^^9 88 
^ doxible flcnt^€J3i sfeam yaxjae elioW 

in Fig. 92, and it should be painted in the joint, 
as shown in Fig. 92. To make a core box for 




*rh€ Worlii-n^ SiraWiii^ for pijae ^boW 



this pattern, take a piece of stuff of proper 
dimensions and into the face turn a semicircular 



AND FOUNDRY PRACTICE 



129 



groove of the radius desired. Cut this plank in 
quarters, using one of the parts for the curved 




portion of the box, which is finished by gluing 
on strips in which proper semicircular notches 
are cut, and with additional strips for closing the 
ends of the box. This 
is clearly illustrated in 
Fig. 93. As the core 
box is alike at both 
ends, the core will re- 
verse and glue together; 
therefore a single box is 
all that IS necessary. ==• •= 

If, however, one end of the elbow should 
differ from the other, a full box should be 
made. Now assuming that instead of 4 inches 




130 



PATTERN MAKING 




TVy _£f 




Tt^ 93 



€for€ "hox fot* STixalJ ^izeS elhaW 



AND FOUNDRY PRACTICE 



131 



this elbow is 4 feet in diameter, then we 
have an entirely different proposition to con- 
sider, and instead of a piece of lathe work we 




have a problem in construction which should be 

solved in the following manner: Get out the two 

circular flanges, a a. Fig. 94, which should each be 

in two halves and 

doweled together. 

Next, get out the 

pieces b and c, 

and let them into 

a suitable gain, 

which is cut into 

the straight side of these flanges. (See Fig. 95.) 

Now get out the semicircular ribs for the 

body of the pattern, and the ribs and ends 




j/alf pattern for l^rge fjiov/ 

sTiaWi'rit^ cross Sectioft «»' fiati^e 



132 



PATTERN MAKING 



for the core prints. Secure these with large 
wood screws and glue to the pieces b and c, 




Corc 'dok foT 1ar^<e. elboW Dvu'ed jine^ sftt^ Ttbi 

as shown in Fig. 94, taking care that a 
proper allowance is made for the thickness 
of the lagging. Then get out suitable lagging, 

the form of which 
can be obtained 
from the cross- 
sectional working 
drawing, Fig. 95. 
Now cut this lag- 
ging to such lengths 
as the nature of the work may require, and 
secure it in place with glue and screws or 
long finish nails, driving all nail heads far 




Tig 0r 

CroM section throiigTi core Trox 



AND FOUNDRY PRACTICE 



133 



enough below the surface to allow truing up. 
Then go carefully over the work with sharp 





Tlo-n of 5keJefon core loit for Jar^c eJbovsf 

l. l l i'Tl / — .l i ,n,.i| i 'Hvi,>, ' WA 




'^:mm^^i^^~ 



Elrvctttori of Stlte'let o-n core ' boy for fo-rtj/e elhoW 




His "^^ 

CVoss 3CC < T o 7t Tlvro iijgh core , coreiox 8r_ swefjg- 



paring tools, planes, etc., until no bumps 
appear when rubbing the hand endways along 



134 



PATTERN MAKING 



l^- 



fot 



the pattern. Lastly, put a leather 
fillet^ at d and finish with shellac 
in the ordinary manner. The 
making of a core box for this 
elbow is very similar to the 
making of the pattern itself, 
except that the design is le- 
rersed; the operation being 
shewn in Figs. 9G and 97. 
This core can be sw^pt in a 
skeleton box similar to the 
skeleton core boxes already de- 
scribed, excepting that from the 
curved form of the core it is 
necessary to so design the core 
box that the sweep may be 
moved from end to end of the 
work instead of around it. Such 
a device is clearly shown in 
Figs. 98, 99 and 100. 

Fig. 101 represents an ordi- 
nary fluted cast-iron fence post, 
which has hollow projections for 
receiving the ends of the top 



* Leather is now generally used for fillets and is sup- 
plied in various sizes by the trade. 



AND FOUNDRY PRACTICE 135 

and bottom rail of the fence, which is itself 
hollow. 




Such a pattern would not draw if divided in 
the ordinary manner; but the work becomes 
simple enough when parted as shown in Figs. 102 
and 103. The projections for receiving the ends 



j9a Hinq 




of the rail are left loose from the pattern and are 
drawn out of the sand after the pattern is lifted, 
and these, being hollow, leave their own core in 
the sand. 

A suitable core box for Fig. 101 may be made 



136 PATTERN MAKING 

of the form shown in Fig. 104, especially if any 
grooves, moulds, etc., are to be shown on the 
core to correspond with the form of the outside 
of the post. If a plain square core is all that is 
required, a core box of the desired form may be 
made, open at top and bottom, which is laid upon 
a flat surface filled with prepared sand, flour, etc., 
and struck off with a straight-edge, as described 
for the core box as shown in Fig. 25. In this 




mould such a core would lie with the corner up- 
ward. 

Having endeavored to treat the subjects of this 
work in a manner both lucid and exhaustive, not 
only by the directions simply stated, but also by 
many illustrations, I feel confident that the care- 
ful perusal and study of this volume will be a 
great aid to the intelligent and ambitious 
mechanic in his battle for success in life in this 
particular field of usefulness. It was my inten- 



AND FOUNDRY PRACTICE 137 

tion to have added a chapter, or at least a few 
pages, to this work, upon the subject of the 
kinds of wood usually employed in the making 
of patterns; but as the subject has already been 
so ably treated by a writer in the July, 1904, 
number of "Carpentry and Building," I have 
here reproduced the article in full. 



WOOD FOR MAKING PATTERNS 

"In a recent discussion of the different varieties 
of wood adapted to the making of patterns, M. 
J. Golden, Professor of Applied Mechanics at 
Purdue University, Lafayette, Ind., brought out 
some very important points to be considered by 
the pattern maker, and as the subject is one in 
which a large class among our readers is inter- 
ested, we take space to present the following 
extracts : 

"A suitable wood for pattern making must be 
cheap, of such a nature that it can be shaped or 
formed easily, have a fine grain and a fair degree 
of strength. The requisite of cheapness throws 
out of the list — except for special or restricted 
use — some woods, such as cherry and mahogany, 
from which excellent patterns may be made. A 
study of the microscopic structure of the wood 
will show why certain classes are not and cannot 
be suitable for pattern making. For instance, 
take oak and pine, which are very much alike 
in cost and the ease with which they may be 
shaped. Oak, however, is not at all suitable for 

139 



140 PATTERN MAKING 

patterns, while pine, though weaker, is much to 
be preferred, and is used more than all other 
woods. Some knowledge of the structure and 
growth of the two will help us to understand 
this. Upon examination we find that the pine 
has a texture that is smooth and even, while the 
oak has a very great variation in the wood which 
is formed in the spring of the year, and that 
which is formed in the summer. The spring 
growth is open and has many holes that follow 
the direction of the grain, while the summer wood 
is dense and hard. In addition, in the oak we 
find the hard, shell-like plates that form the silver 
grain comparatively large and numerous; while 
in pine these plates are hardly distinguishable 
at all. 

" One requisite of a good pattern wood is that 
it must be of such a nature that the grain can be 
filled with shellac varnish or some corresponding 
medium, to protect the pattern from the action 
of moisture in the moulding sand. It is evident 
that the wood of the oak will serve this purpose 
but poorly, and that pine would be much better. 

" The wood of the oak is made up practically of 
two different kinds of elements ; one kind is called 
the vessel. This is shaped like a tube, which 



AND FOUNDRY PRACTICE 141 

may and often does extend the whole length of 
the tree trunk. The structure of this vessel 
is much like that of a wire-wound garden 
hose, except that the ridges are on the inside of 
the walls of the tube. These ridges serve to 
stiffen and strengthen the tube. The vessel is for 
carrying sap from the roots to the branches and 
leaves. This kind of element forms larger open- 
ings, and the vessels have grouped around them 
elements of the second kind. These are com- 
paratively short in length and much stronger in 
the walls. The ends of these shorter members 
overlap and dovetail together; the shorter 
members are called fibres and serve as a 
mechanical support to the vessels. The vessels 
and groups of fibers that surround and stiffen 
them are together called a bundle. 

'' There is still another kind of tissue in the oak 
that forms the. silver grain. This is of the same 
kind that is found in pith, and it occurs in flat 
plates that connect the outer and inner parts, 
growing from the heart outward. One of these 
plates is called the medullary ray and the wood 
between two of them is a bundle. 

"As the tree grows older the tissue in the 
medullary ray h:?.rdens very much, and as it does 



142 PATTERN MAKING 

not change its form during seasoning, it has con- 
siderable influence in causing the wood to warp. 
This greater tendency to warp on the part of the 
oak is another point against it for the pattern 
purposes. During the growth of the tree the 
food matter is taken up by the roots and is 
carried up to the leaves through the vessels, and 
there it is brought in contact with the air that it 
takes in through openings in the surface of the 
leaves. The sap is then changed into food 
matter for the tree. The principal portion of the 
food matter comes from the air, and is carried 
back with the sap from the leaves to the outer 
part of the branches and trunk, where it is used 
in building new wood and other tissue. The 
medullary rays help to carry food matter to the 
inner growing parts of the tree. 

" Pine wood differs from oak in that it has only 
one kind of element instead of two. In place of 
the vessels and fibers there is a kind of element 
called tracheide that serves the purpose of both. 
The walls of this tracheide have small openings 
through them from one to another so that the 
sap may be carried from the roots to the leaves 
and back again to the growing tissue. In spring, 
when the flow of sap is greatest, the elements 



AND FOUNDRY PRACTICE 143 

that are formed by the growing part of the oak 
are very large and have thin walls, while during 
the summer the walls are thicker and stronger 
and the elements correspondingly smaller. The 
summer wood of the oak is consequently harder 
and more fine in grain and thus better adapted 
for pattern making. The difference in the 
growth in pine at different seasons of the year is 
much less than in oak, and so, of course, the 
wood, as a whole, is much more even in grain. 
When this, and the fact that there is only one 
kind of element in pine, are taken into considera- 
tion, it is evident that the pine is better suited for 
pattern work than the oak. 

" When the pattern maker comes to use these 
two woods he finds the oak having clearly marked 
annual rings in which there are, side by side, wood 
tissue that is very hard and dense from the 
summer wood, and tissue that is very light and 
open from the spring growth, so that it is 
practically impossible to get a surface that will 
resist the action of moisture in the mouldino- 
sand, or even a surface sufficiently smooth to 
leave a good impression in the mould. 

" Then, too, the oak pattern would have a 
constant tendency to warp because of moisture 



144 PATTERN MAKING 

taken in from the open vessels of the spring 
wood. 

"The pine, on the contrary, has not much 
difference in the tissue that goes to make up its 
spring and summer annual rings, these rings 
being distinguishable more on account of a slight 
change in color in some parts than on account of 
the size of the elements. The elements in all 
parts of the pine are thin and light enough so 
that the wood is easily shaped, and yet the ele- 
ments are small enough to make protection of 
them by varnish an easy matter, on account of 
the fact that they are easily filled. These pecul- 
iarities of structure adapt the pine especially to 
the needs of the pattern maker, its principal draw- 
back being because of the lightness of its tissue 
and the ease with which it is bruised." 

In conclusion we will remark, that a pattern 
maker is supposed to be a paragon of order, a 
thorough mechanic and a gentleman. His tools 
are of the best quality and in perfect order for 
turning out the finest quality of work. Every 
tool is always in place and he knovv^s just where 
to lay his hands on the desired one. His patterns 
are all numbered and an accurate record kept of 
them. He is supposed to know what patterns 



AND FOUNDRY PRACTICE 145 

are at the foundry, when they went and how 
many pieces of casting are required. He is 
expected to "keep tab" on patterns that leave 
the shop, and in case such patterns are not 
returned at the appointed time, he should look 
after them at once. His shop is clean and 
pleasant. His material is the best of its kind; the 
softest and driest pine for ordinary and mahogany 
for fine work. Hence a job of pattern making is 
well worth striving after by any person who 
desires to follow a life devoted to mechanical 
pursuits. 



THE END 



TABLE OF CONTENTS 

Foundry Practice. 

Cast iron washer — Cup-shaped casting — Con- 
necting rod — Fire extinguisher cap — Stake 
pocket casting. Page 19-S i 

Pattern Shop Practice. 

Mechanical drawing — Drafting tools — Loca- 
tion of machinery — Gluing up work. Page. 37-48 

Tools. 

loathe tools, chisels and gouges — Shrinkage 

rule — Pattern maker's lathe. Page 49-58 

Making the Pattern. 

Stake pocket pattern and core box — Flanged 
cylinder pattern and core box — Cast pipe 
fitting and core box — Double flanged wheel 
pattern and core box — Double flanged gear — 
Brake wheel pattern — Making a gear pattern 
— Laying out gear teeth— Miter gear pattern 
— Iron dome pattern and core box — Car seat 
pattern. Page 59-96 

Casting with Part Patterns, Etc. 

Ribbed plate — Cast gear — Large pulley or 
flywheel. Page 97-104 

Sweep Work. 

Sweep for bowl or dome — Sweep for smoke 
box door — Sweep for locomotive cylinder — 
Mould for fluted column. Page 105-117 

Complicated Patterns. 

Locomotive chime whistle — Car journal box 
— Double flanged elbow — Skeleton core for 
large elbow — Fluted cast iron fence post. 
Page 118-138 

Wood for Pattern Making. 

Oak— Pine. Page 139-145 

147 



MODERN LOCOMOTIVE 
ENGINEERING '"'E.^.rr'^ 

" By C. F. SWINGLE. M. E. ~~!~~ 



THE most modern and practical work published, treating upon the 
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STEAM BOILERS. THEIR 
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MODERN ELECTRICAL 
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By HORSTMANN and TOUSLEY 



^HIS book treats almost entirely of practical electrical 
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THE MOST IMPORTANT BOOK ON ELECTRICAL CONSTRUOTION 

WORK FOR ELECTRICAL WORKERS EVER PUBLISHED. 

NEW 1904 EDITION. 

MODERN WIRING 
DIAGRAMS AND DESCRIPTIONS 

A Hand Book of practical diagrams and 
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By HENRY C. HORSTMANN and 
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The L-itest, Best and 3Io8t Complete Book on Engineering and Electricity 
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^he 20th Century Hand Book 
E^ngineers and ^Electricians 

A COMPENDIUM 
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By C. F. SWINGLE, M.E. 

Formerly Chief Engineer of the Pullman Car Works. Late Chief Kngrlneer 
of the Illinois Car and Equipment Co., Chicago. 

ELECTRICAL DIVISION 

The electrical part of this valuable volume was written by a practical 
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DYNAMO TfcNDINQ 




ENGINEERS 

Or, ELECTRiCJTY 
FOR STEAM ENGINEERS 

By HENRY C. HORSTMANN and 
VICTOR K. TOUSLEY, 
Authors of "Modern Wiring Diagrams and 
Descriptions for Electrical Workers." 



This excellent treatise is written by 
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Fred T. Hodgson's New (1905) Books For Builders 

STEEL SQUAR 

A TREATSBE OF THE PRAGTiOAl SMSES Of 

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Modern Carpentry 

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